John William Edy (1760 - 1820) was an English painter. He worked for the publisher John Boydell in London, often anonymously. In the summer of 1800 Edy visited Norway on an assignment for Boydell together with the landscape painter William Fearnside. They were in Norway from July 31 and until the end of September the same year.   Related Paintings of John William Edy :. | Town of Drobak | Bridge, at Christiania | Valley in Heliesund | Town of Skeen | View near KragerOe |
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Bacon, Henry
American, 1839-1912
anguissola sofonisba
The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century. This new direction is reflected in Lucia, Minerva and Europa Anguissola Playing Chess (1555; Poznan, N. Mus.) in which portraiture merges into a quasi-genre scene, a characteristic derived from Brescian models.
Lemmen, Georges
Belgian Art Nouveau Painter, 1865-1916 Belgian painter and decorative artist. He showed a precocious talent, first exhibiting in 1875. His only formal study was at a local school of drawing. Between 1884 and 1886 he showed at the Essor group in Brussels paintings that were based on Derer and Holbein and closely related to those of Lemmen's contemporary, Khnopff. When Lemmen became a member of Les XX in 1888 his style developed quickly, influenced principally by French Neo-Impressionism and the English Arts and Crafts Movement. Lemmen adopted the pointillist technique following Seurat's first showing with Les XX in 1887. His best pointillist canvases include The Carousel (1890-91; Toulon, Mme Thevenin-Lemmen priv. col., see Belgian Art, 1880-1914, exh. cat., New York, Brooklyn