(November 30, 1825-November 15, 1910), Danish genre painter, was born in Copenhagen to Johann Gottlieb Exner, a Czech musician from Bohemia, who came to Denmark during the Napoleonic period, and his wife Karen Jørgensdatter. Exner originally intended on becoming a history painter, but quickly found his niche, however, in genre painting, the most popular and lucrative painting style of his era.  Related Paintings of Julius Exner :. | Still life with Tonkinese Warrior | Lilac trees | An Agasse painting | Boston in Lincolnshire | Wolfgangsee |
Related Artists:
Hans Smidth
Hans Ludvig Smidth (2 October 1839, Nakskov - 5 May 1917, Frederiksberg) was a Danish painter. He is remembered above all for his paintings of Jutland and its local inhabitants. Smidth was the son of the city bailiff of Skive, Edvard Philip Smidth, and the brother of Verner Frederik Læssøe Smidth who founded the cement concern F. L. Smidth & Co. After graduating from school, he began to study medicine but gave it up in favour of art. In 1861, he entered the Danish Academy where he studied under Niels Simonsen. In 1866, he began to experience financial difficulties and left the Academy to continue his studies himself, painting scenes of Limfjord and the moors of Jutland. He first exhibited at Charlottenborg in 1867 with two landscape paintings and continued to exhibit there over the years. His works depicted country life in Jutland, most of them with an emphasis on animals and local figures. He had a talent for form and detail but his use of colour was rather dry, dimishing the appeal of his paintings to the general public. In 1870-71, he studied under Vilhelm Kyhn. As the years went by, Smidth's style developed considerably, earning him the Neuhausen Prize in 1877 for En fremmed spørger om Vej i Bondegaarden paa Heden which was not only technically impressive but showed a fineness of tone. His increasing acceptance as a master of painting in Jutland paved the way for his reputation at the national level. In fact Smidth had to wait until the year 1900 before he experienced full recognition. That year the Danish Art Society arranged a special exhibition of the artist's work although he was now 60. Unexpectedly 290 of the 300 works sketches and drawings exhibited were sold. In retrospect, his paintings are free of historical or mythical figures, they do not interpret scenes along the lines of the Skagen Painters. They simply depict the views of the people and the countryside as he saw them. His paintings show he had the same respect for the land as the peasants themselves.
Theodore Roussel
English Painter, 1847-1926 English painter and etcher of French birth. He was born and educated in France and settled in England in 1878, when he quickly established a reputation. Largely self-taught, his few extant early paintings show an eclectic style that combines the techniques of the Old Masters, which he studied in detail, with the subject-matter of modern urban life. In 1885 he was introduced to James McNeill Whistler, his neighbour in Chelsea, London, and in consequence a lifelong friendship was formed. As Roussel was a member of Whistler's London circle his work in watercolour and oil was influenced by the latter in style and choice of subject-matter. His oft-quoted remark that he was a 'pupil of Whistler' is, however, belied by his frequently distinct style, as seen in such paintings as the Reading Girl (1886-7; London, Tate). In 1888 Whistler introduced him to the techniques of etching and drypoint, resulting in such etchings as the Sign of the 'White Horse', Parson's Green (c. 1893-4; see Rutter, pl. xxx). For the remainder of his life he relentlessly pursued the medium, even, like Whistler, designing his own special frames. Always fascinated by the theoretical and practical nature of colour science, he constantly experimented and was an early pioneer of the technique of colour etching in England, producing such works as Dawn.
Petrov-Vodkin, Kozma
Russian Painter, 1878-1939