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 :. | Widok Bebeku kolo Konstantynopola, | Astronomer Copernicus | Christianization of Poland A.D. 965. | Boleslaw Chrobry and Svetopelk at Kiev | Adoption of the Polish Constitution of May 3 |
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Lucien Levy-Dhurmer
French Art Nouveau Painter, 1865-1953,was a French Symbolist/Art Nouveau painter and potter. He was born Lucien Levy to a Jewish family in Algiers. In 1879 he began studying drawing and sculpture in Paris. In 1887 Levy began making his living in southern France, overseeing the decoration of ceramics. His own tastes in pottery decoration were influenced by Islamic Art. In 1895 he left for Paris to begin a career in painting; around this time he visited Italy and was further influenced by art of the Renaissance. In 1896 he exhibited his first pastels and paintings under the name Lucien Levy-Dhurmer; he'd added the last two syllables of his mother's maiden name (Goldhurmer), likely to differentiate himself from other people named Levy. His paintings soon became popular with the public and among fellow artists as well. He earned high praise for the academic attention to detail with which he captured figures lost in a Pre-Raphaelite haze of melancholy, contrasted with bright Impressionist colouration. His portrait of writer Georges Rodenbach is perhaps the most striking example of this strange and extraordinary synergy.
Mathieu le Nain
1607 - 1677
Allan osterlind
painted Lekande barn - sommar pa fabodvallen in 1890