1781-1829 British George Dawe Locations English painter and writer. He was the son of the mezzotint engraver Philip Dawe who taught him engraving. He continued to concentrate on engraving when he entered the Royal Academy Schools, London, in 1796, producing portraits until 1802, when he turned to history painting. In 1803 he won a gold medal and the following year made his d?but at the Royal Academy, where he exhibited until 1818, often showing such anecdotal and literary works as Imogen Found in the Cave of Belarius (exh. RA 1809; London, Tate). He was elected an ARA in 1809 and an RA in 1814 and soon afterwards returned to portrait painting. In 1816 he painted a number of portraits of George IV daughter Princess Charlotte (e.g. London, N.P.G.), several of which were engraved. In 1817 he went to Brussels and was present at the review of the allied troops by Arthur Wellesley, 1st Duke of Wellington in Cambrai. Soon afterwards he was invited by Tsar Alexander I of Russia to paint the portraits of all the senior officers who had taken part in the Napoleonic Wars. He travelled to St Petersburg in 1819 where, over the next nine years, he painted nearly 400 portraits. These were placed in a specially built gallery (destr.) in the Winter Palace in St Petersburg. He returned briefly to England in 1828 before travelling to Berlin, where he painted the portraits of Ernest Augustus, Duke of Cumberland (1828; London, N.P.G.) and Frederick William III, King of Prussia (1828; untraced). From Berlin he moved to St Petersburg and then to Warsaw before being forced by illness to return to England, where he died shortly afterwards. His book The Life of George Morland with Remarks on his Works (1807) is both a lively account of his godfather dissipated lifestyle and a fairly critical appreciation of his work.  Related Paintings of George Dawe :. | Portrait of Alexander von Benckendorff | Charlotte of Prussia with children | Portrait of Magnus Freiherr von der Pahlen | Portrait of General Pyotr Bagration | Portrait of Konstantin von Benckendorff |
Related Artists:
HOLBEIN, Ambrosius
German Northern Renaissance Painter, 1494-ca.1519 Painter, draughtsman and designer of woodcuts, son of Hans Holbein. In the drawing of Ambrosius and Hans Holbein the Younger (1511; Berlin, Kupferstichkab.) by their father, Hans's age is given as 14, and although that of Ambrosius cannot be read clearly, he appears to have been the elder brother. In 1514 he was probably working near the Bodensee, and a Virgin and Child (Basle, Kstmus.), with the coat of arms of Johann von Botzheim, Canon of Konstanz Cathedral (c. 1480-1535), appears to be his work. In 1515 he was working as a journeyman to the painter Thomas Schmid (c. 1480-c. 1550-60) on the decoration of the abbot's Festsaal in the Benedictine St Georgkloster at Stein-am-Rhein, which included allegorical figures of women, one of which, Death with a Female Lute-player (in situ), is signed AH. Also in 1515 he joined his brother Hans in Basle, where together they decorated with marginal drawings (1515-16) the copy of Erasmus's Praise of Folly (Basle, Kstmus.) belonging to the schoolmaster Myconius (Oswald Geissh?sler; d 1552); the distinction between the hands of the two brothers can be made only on stylistic grounds. They also painted a school sign for Myconius, each apparently working on a different side. On 25 July 1516 Ambrosius was recorded staying in the house of the painter Hans Herbst, in whose workshop he may have been employed. On 14 February 1517 he was enrolled in the Basle painters' guild, and on 5 June 1518 he became a citizen of the city. Numerous woodcut designs executed for Basle printers from 1517 onwards and signed with Ambrosius Holbein's initials survive, most of which are set in architectural frameworks inspired by the Italian Renaissance,
Samuel Sidley
British 1829-1896
Charlotte Wahlstrom
painted Lake landscape at dusk in 1887