Polish Painter, 1838-1893 He studied from 1852 to 1858 at the School of Fine Arts in Krakew and, during this time, started exhibiting historical paintings with the Society of Friends of the Fine Arts there (e.g. Sigismund I Bestowing Nobility on the Professors of the University of Krakew in 1535 (1858; Krakew, Jagiellonian U., Mus. F.A.). After studying in Munich (1859) under the history painter Hermann Anschetz (1802-80) and then briefly and less successfully in Vienna, Matejko returned to Krak?w, where he was based for the rest of his life. In 1860 Matejko issued an illustrated album, Ubiory w Polsce (later editions 1875 and 1901), a project reflecting his intense interest in historical records of all kinds and his desire to promote such interest among the Polish people in an effort to intensify their patriotic feelings. This role first became widely associated with Matejko with his painting of Stanczyk (1862; Warsaw, N. Mus.), the court jester to King Sigismund I (1437-1548), to whom Matejko gave his own features. The jester is presented as a symbol of the nation's conscience  Related Paintings of Jan Matejko :. | Boleslaw Chrobry and Svetopelk at Kiev | Widok Bebeku kolo Konstantynopola, | The Union of Lublin | Astronomer Copernicus, conversation with God. | Ivan the Terrible. |
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Francesco Fontebasso
(4 October 1707 - 31 May 1769) was an Italian painter painter of the late-Baroque or Rococo period of Venice. He first apprenticed with Sebastiano Ricci, but was strongly influenced by his contemporary, Giovanni Battista Tiepolo. In 1761, Fontebasso visited Saint Petersburg and produced ceiling paintings and decorations for the Winter Palace. Fontebasso returned to Venice in 1768. He helped decorate a chapel in San Francesco della Vigna. He died in Venice in 1769.
Carl Wilhelmson
1866-1928 Swedish painter and lithographer. Wilhelmson trained first as a commercial lithographer in Göteborg. In 1886 he enrolled as a student of decorative painting at Valand College of Art where his teacher was Carl (Olof) Larsson. In 1888, having obtained a travel grant, he went to Leipzig to study lithographic technique. From 1890 to 1896 he lived in Paris, where he worked as a lithographer and commercial artist and studied at the Academie Julian. Wilhelmson's preferred subject-matter was the coastal landscape of Bohuslen and the people of its little fishing villages with their huddles of wooden houses. There is no trace of ethnography in his depictions of local life; they are full of serious realism and display a sensitive insight into the perilous life of the fishermen, with which he had been familiar since childhood. In the Village Shop
CALRAET, Abraham van
Dutch painter, Dordrecht school (b. 1642, Dordrecht, d. 1722, Dordrecht) Dutch painter. He was the eldest son of Pieter Jansz. van Calraet (c. 1620-81), a sculptor from Utrecht. According to Houbraken, Abraham was taught by the Dordrecht sculptors Aemilius and Samuel Huppe, although nothing is known of his activity as a sculptor. Houbraken also stated that Abraham learnt to paint figures and fruit and that his brother Barent van Calraet (1649-1737), who specialized at first in horse paintings but later imitated the Rhine landscapes of Herman Saftleven, was a pupil of Aelbert Cuyp (see CUYP, (3)). The known signed works by Barent confirm this. A painting of two horses in a stable, initialled APK (Rotterdam, Mus. Boymans-van Beuningen), indicates that Abraham, too, must have been well acquainted with Cuyp and provides the basis for identifying Abraham's painting style. A large number of landscapes with horses, paintings of livestock in stables and still-lifes, all initialled A.C. and formerly attributed to Aelbert Cuyp,