Swedish, 1853-1935  Related Paintings of Julia Beck :. | GRE PAR NEMOURS | Boy with tamburin | BECK, Julia French Landscape, Grez | Portrait of a woman | Portrait of a woman |
Related Artists:
hedvig eleonoras
Hedvig Eleonora av Holstein-Gottorp, född 23 oktober 1636, död 24 november 1715, var svensk drottning och riksföreståndare, dotter till Fredrik III av Holstein-Gottorp och Marie Elisabeth av Sachsen och gift i november 1654 med Karl X Gustav. Hon var med honom i Polen 1656 och i Danmark 1658. Hon var Sveriges drottning i sex år, men de facto "första dam" till sin död 1715, i femtiofem års tid. Hon blev änka 1660 och levde som änkedrottning i ytterligare 55 år. Kung Karl II av England friade till henne något år efter makens död, men hon tackade nej, med den formella motiveringen att hon önskade vara sin döde make evigt trogen. Hon satt i förmyndarregeringarna för både sin son Karl XI och sin sonson Karl XII, 1660-1672 samt 1697, och sedan i rådet 1700-1713, men hade i verkligheten aldrig så mycket att göra med politik, utan var nöjd med att formellt presidera över regeringen och hovet som monarkins symboliska överhuvud och representant. Hon stödde dock den profranska och antidanska policy som fördes av regenterna. Hennes son var djupt beroende av henne i hela sitt liv; då han blev gammal nog att sitta med vid regeringens sammanträden, talade han inte direkt till ledamöterna, han viskade i stället vad han ville veta till riksänkedrottningen, och Hedvig Eleonora frågade sedan regeringen med hög röst vad han ville veta. Då sorgeperioden formellt bröts år 1663 var hon värdinna för omfattande festligheter, och det var i hennes namn Sveriges första fasta teater öppnades i Stora Bollhuset och Lejonkulan 1667. Hedvig Eleonora, "Riksänkedrottningen", hade en dominant och temperamentsfull personlighet och dominerade det svenska hovet totalt fram till sin död. Även efter sin sons giftermål 1680 och fram till sin död 1715 var hon den verkliga drottningen och behöll sin position som "första dam"; sonen kallade henne "drottningen" och sin fru för "min fru". Under stora nordiska kriget var hon 1700-13 representant för kungen, men intresserade sig inte heller nu mycket för politik- vid audienser för utländska sändebud kunde antingen "moltiga" eller gapskratta åt dem. Hon intresserade sig för kortspel och arkitektur. Hon kunde spela kort till inpå småtimmarna. Drottningholms slott samt Strömsholms slott påbörjades av henne. Vid båda slotten lät hon anlägga stora parker i tidens stil.
Christen Kobke
1810-1848 Danish Christen Kobke Galleries He lived in Kastellet until 1833 and made many paintings of the area. His painting "Gården ved bageriet i Kastellet" (ca. 1832) hangs in the Ny Carlsberg Glyptotek museum in Copenhagen. In 1832 he shared a studio with friend, landscape painter Frederik Hansen Sødring. He painted a portrait of Sødring which now hangs in the Hirschsprung Collection. In 1834 he moved, along with his parents, outside of Copenhagen??s fortifications near Sortedamssøen, a lake area. He painted many views overlooking the lake towards the city and the embankments surrounding the city. His work becomes larger, more monumental. Like many of his contemporary artists he came under the influence of Niels Lauritz Høyen, art historian, who promoted a nationalistic art. Høyen called for artists to search for subject matter in the folk life of their country instead of searching for themes in other lands, such as Italy (which was at that time considered a requirement for an artist??s training). On a visit to Hillerod in 1835 he painted a romantic picture of Frederiksborg Palace, "Frederiksborg Slot ved Aftenbelysning" ("Frederiksborg Palace in the Evening Light"). At the end of 1837 he married Susanna Cecilie Kobke (1810-1849), and shortly afterwards painted a portrait of his young bride. One of the Small Towers on Frederiksborg Castle, c.1834-35.In 1838 he received a travel stipend from the Academy, left his new wife and traveled over Dresden and Munich to Italy accompanied by decorative painter Georg Hilker. They arrived in Rome by year??s end where he met brother-in-law Frederik Christopher Krohn, sculptor and medallionist, and many other Danish artists. He traveled, along with Constantin Hansen the following summer to Naples, Sorrento, Pompeii and Capri where he painted out in the open air. He returned home in 1840 with a large collection of sketches for later use and inspiration. Unfortunately, most his later work with these Italian themes was uninspired, and they found little favor. Kobke even considered at the time becoming a decoration painter, having participated in 1844-1845 in the decoration of the Thorvaldsens Museum, a museum dedicated to the artistic works of Bertel Thorvaldsen. Two years after his father died in 1843 the family sold the property outside Copenhagen, and Kobke moved back into the city. His application for admission to the Academy, which was accompanied by one of his failed Italian landscapes, was rejected in 1846. He died in 1848 of pneumonia, and is buried in Assistens Kirkegard. Kobke, a national romantic, painted portraits, landscapes and architectural paintings. Most of Kobke??s portraits show friends, family members and fellow artists. He found most of his motifs in his immediate surroundings. Now he is recognized internationally for his well composed and harmonic paintings, for their coloristic qualities and for his sense of the everyday life. But in his lifetime he was almost forgotten, especially because of his early death and limited production. Despite his talent and the praise of various contemporaries, Kobke had never been inundated with commissions. Kobke is recognized today as one of the most talented among Denmark??s Golden Age painters and the most internationally renowned Danish painter of his generation. The painterly interpretations he made of his surroundings stand as highpoints of the period. His works are in the collections of not only Danish museums but also such international museums as the J. Paul Getty Museum
Simone Martini
1283-1344 Italian Simone Martini Locations He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style. It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. His brother-in-law was the artist Lippo Memmi. Very little documentation survives regarding Simone's life, and many attributions are debated by art historians. Simone Martini died while in the service of the Papal court at Avignon in 1344. Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maest?? of 1315 in the Palazzo Pubblico in Siena. A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the fourteenth century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and unsurpassed courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome. Simone's major works include the Maest?? (1315) in the Palazzo Pubblico in Siena, St Louis of Toulouse Crowning the King at the Museo di Capodimonte in Naples (1317), the S. Caterina Polyptych in Pisa (1319) and the Annunciation and two Saints at the Uffizi in Florence (1333), as well as frescoes in the Chapel of St. Martin in the lower church of the Basilica of San Francesco d'Assisi. Francis Petrarch became friend with Simone while in Avignon, and two of his sonnets make reference to a portrait of Laura de Noves he supposedly painted for the poet.