American painter. He was a leading representative of the second generation of the HUDSON RIVER SCHOOL, who made an important contribution to American landscape painting in the 1850s and 1860s. The son of a wealthy and prominent businessman, he studied briefly in Hartford with two local artists, Alexander Hamilton Emmons (1816-84) and Benjamin Hutchins Coe (1799-1883). Thanks to the influence of the Hartford patron DANIEL WADSWORTH, in 1844 he became the first pupil accepted by Thomas Cole. Related Paintings of Frederic E.Church :. | South American Landscape | Al Ayn | Plant Study,Jamaica,West Indies | The Icebergs | Great Basin,Mount Katahdin,Maine |
Related Artists:LIGOZZI, Jacopo
Italian painter, Florentine school (b. 1547, Verona, d. 1627, Firenze)
Italian painter, draughtsman, miniaturist and printmaker. He was one of the most productive artists in 17th-century Florence, although in the context of the Florentine Baroque, with its pageantry and decorative form, Ligozzi remained as much a foreigner in terms of his precise drawing, veristic figures and expressive content, as he was by birth. He was the son of the painter Giovanni Ermanno Ligozzi ( fl 1572-88; d before 1605) and came from a Veronese family of painters and designers of armour, tapestries and embroidery on silk. Other members of the family who were painters (Fumagalli in 1986 exh. cat.) were Jacopo's brother Francesco (d before 1635), whose career seems to have been in Verona, his cousin Francesco di Mercurio, who worked for the Medici in Florence in 1590-91Robert Salmon
American painter of English origin. Having trained and painted in England and Scotland, he moved to Boston in 1828, painting in a 'little hut' near the wharves of South Boston. Reportedly an eccentric, he became a successful painter of marine views, adopting a range of different scales, including small wooden panels, larger canvases and theatre backdrops. Moonlight Coastal Scene (1836; St Louis, MO, A. Mus.) is typical of his works on panel, and it demonstrates his use of light to silhouette form. There are no extant examples of the panoramic views done as backdrops; his canvases such as Wharves of Boston (1829; Boston, MA, Old State House) and View of Charlestown (1833; Annapolis, MD, US Naval Acad. Mus.) are full of carefully delineated figures, minute and accurate details of the ships and their rigging, and, most importantly, large expanses of sky dominated by strong light. Salmon's portrayal of light-filled water and sky, increasingly luminous in the late 1830s and early 1840s, has caused him to be considered by some as the father of LUMINISM (i). He used a low viewpoint and contrasted a distant shoreline and small-scale figures in the foreground in a manner that prefigured the work of Fitz Hugh Lane and Martin Johnson Heade, both of whom were influenced by Salmon's manipulation of scale, light and subject-matter. It appears that he returned to England before his death.Abraham Walkowitz
(March 28, 1878 - January 27, 1965) was an American painter grouped in with early American Modernists working in the Modernist style.
Walkowitz was born in Siberia and emigrated with his mother to the United States in his early childhood. He studied at the National Academy of Design in New York City and the Academie Julian in Paris under Jean-Paul Laurence. Walkowitz and his contemporaries later gravitated around photographer Alfred Stieglitz's 291 Gallery, originally titled the Little Galleries of the Photo-Secession, where the forerunners of modern art in America gathered and where many European artists were first exhibited in the United States. During the 291 years,