1858-1921 Belgian Fernand Khnopff Gallery Fernand Khnopff was born to a wealthy family that was part of the high bourgeoisie for generations. Khnopff's ancestors had lived in Flanders since the early 17th-century but were of Austrian and Portuguese descent. Most male members of his family had been lawyers or judges, and young Fernand was destined for a juridical career. In his early childhood (1859-1864) he lived in Bruges where his father was appointed Substitut Du Procureur Du Roi. His childhood memories of the medieval city of Bruges would play a significant role in his later work. In 1864 the family moved to Brussels. To please his parents he went to law school at the Free University of Brussels (now divided into the Universite Libre de Bruxelles and the Vrije Universiteit Brussel) when he was 18 years old. During this period he developed a passion for literature, discovering the works of Baudelaire, Flaubert, Leconte de Lisle and other mostly French authors. With his younger brother Georges Khnopff - also a passionate amateur of contemporary music and poetry - he started to frequent Jeune Belgique ("Young Belgium"), a group of young writers including Max Waller, Georges Rodenbach, Iwan Gilkin and Emile Verhaeren. Khnopff left University due to a lack of interest in his law studies and began to frequent the studio of Xavier Mellery, who made him familiar with the art of painting. On the 25th of October 1876 he enrolled for the Cours De Dessin Apres Nature ("course of drawing after nature") at the Academie Royale des Beaux-Arts en Bruxelles. At the Academie, his most famous fellow student was James Ensor, whom he disliked from the start. Between 1877 and 1880 Khnopff made several trips to Paris where he discovered the work of Delacroix, Ingres, Moreau and Stevens. At the Paris World Fair of 1878 he became acquainted with the oeuvre of Millais and Burne-Jones. During his last year at the Acad??mie in 1878-1879 he neglected his classes in Brussels and lived for a while in Passy, were he visited the Cours Libres of Jules Joseph Lefebvre at the Acad??mie Julian.   Related Paintings of Fernand Khnopff :. | Study For Memories | Portrait of Jeanne de Bauer | The Caresses | View From the Bridge at Fosset | Study of Woman |
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Charles Roscoe Savage
1832-1909, He was a British-born landscape and portrait photographer who produced images of the American West. He is best known for his 1869 photographs of the linking of the first transcontinental railroad. Savage was born in Southampton, England, on August 16, 1832. At age 14, he joined The Church of Jesus Christ of Latter-day Saints (LDS Church). After serving missions for the church in Switzerland and England, he emigrated to the United States during the winter of 1855?C56. He initially found work as a photographer in New York City, and headed west the following year. He first settled in Nebraska, then Council Bluffs, Iowa, where he established his first independent studio and gallery. In the spring of 1860, he traveled to Salt Lake City, Utah Territory with his family, where he established a photography studio with a partner, Marsena Cannon, an early Utah daguerreotypist and photographer. A year later, after Cannon moved to southern Utah, Savage established a partnership with artist George Ottinger. Many of Savage's photographs were reproduced in Harper's Weekly newspaper, which created a national reputation for the firm. This partnership continued until 1870. As a photographer under contract with the Union Pacific Railroad, Savage traveled to California in 1866 and then followed the rails back to Utah. He photographed the linking of the Union Pacific and Central Pacific on Promontory Summit, at Promontory, Utah in 1869
Jan Asselijn
born: Netherlands; about 1615 died: Amsterdam, Netherlands ; 1652. Italianate syle painter with big vistas small people and romantic skys
Vittore Carpaccio
Italian 1455-1526 Vittore Carpaccio Locations His name is associated with the cycles of lively and festive narrative paintings that he executed for several of the Venetian scuole, or devotional confraternities. He also seems to have enjoyed a considerable reputation as a portrait painter. While evidently owing much in both these fields to his older contemporaries, Gentile and Giovanni Bellini, Carpaccio quickly evolved a readily recognizable style of his own which is marked by a taste for decorative splendour and picturesque anecdote. His altarpieces and smaller devotional works are generally less successful, particularly after about 1510, when he seems to have suffered a crisis of confidence in the face of the radical innovations of younger artists such as Giorgione and Titian.