German Painter and Architect, 1781-1841 German architect and painter. As state architect of Prussia (from 1815), he executed many commissions for Frederick William III and other royal family members. He based his work on the revival of various historical styles. His mausoleum for Queen Louise (1810) and the brick and terra-cotta Werdersche Kirche, Berlin (1821 ?C 30), are among the earliest Gothic Revival designs in Europe. Other works include the Greek Revival Schauspielhaus (1818) and Altes Museum (1822 ?C 30), both in Berlin. In 1830 Schinkel became director of the Prussian Office of Public Works; his work as a city planner resulted in new boulevards and squares in Berlin.  Related Paintings of Karl friedrich schinkel :. | Gothic Church on a Rock by the Sea | Study for a Monument to Queen Louise | Gothic Cathedral with Imperial Palace | Portrait of the Artist's Daughter, Marie | Morning |
Related Artists:
Albert Weisgerber
German, 1878-1915 German painter and printmaker. He studied decoration at the Kreisbaugewerksschule in Kaiserlautern (1891-3) and began work in a decorator studio in Frankfurt am Main. However, in 1894 he moved to Munich to resume his studies, first at the Kunstgewerbeschule and later under Franz von Stuck at the Akademie der Bildenden Kenste (1897-1901). For some years he concentrated on poster design and book illustration, contributing a total of 500 drawings to Jungend: Illustrierte Wochenschrift for Kunst und Leben from 1899. His early paintings such as the portrait of Ludwig Scharf II (c. 1905; Munich, Staatsgal. Mod. Kst) were executed in dark-toned academic style, but an exhibition of French Impressionism in Berlin in 1905 so impressed him that he went to Paris for nearly a year (until May 1906). Despite his association with the circle of artists around Matisse, he was more influenced by the work of Cezanne. In 1907 he made a second visit to Paris and joined Phalanx in 1909. In the latter year he was visited by Hans Purrmann and Matisse. By 1911 with a third visit to Paris and travels to Rome and Naples, he had established himself as one of the foremost German Impressionists. As well as such lyrical scenes as Munich Hofgarten (1911; Munich, Lenbachhaus), in common with many of his German contemporaries, Weisgerber reconceived classical scenes in an energetic style, for example in Amazon Camp (1910; Stuttgart, Staatsgal.). In 1912 he had a one-man show in the Kunsthaus, Zurich, and a year later participated in the annual Kunstausstellung in Munich. Although using an Impressionist style, he was equally at home in Expressionist circles, and this undoubtedly influenced his election to the presidency of the Neuen Menchner Sezession (1913). In the last four years of his career he was obsessed with sacrificial subject-matter from the Old and New Testaments, which he had originated in the theme of St Sebastian (e.g. St Sebastian Felled by Arrows, 1910; Munich, Staatsgal. Mod. Kst). While not exclusively tragic (e.g. David and Goliath, 1914; Saarbrecken, Saarland-Mus.), these final works strip away historical references to concentrate upon the fate of the isolated individual, as in Absalom (1914; Hamburg, Ksthalle).
Robert Salmon
1775-1844 American painter of English origin. Having trained and painted in England and Scotland, he moved to Boston in 1828, painting in a 'little hut' near the wharves of South Boston. Reportedly an eccentric, he became a successful painter of marine views, adopting a range of different scales, including small wooden panels, larger canvases and theatre backdrops. Moonlight Coastal Scene (1836; St Louis, MO, A. Mus.) is typical of his works on panel, and it demonstrates his use of light to silhouette form. There are no extant examples of the panoramic views done as backdrops; his canvases such as Wharves of Boston (1829; Boston, MA, Old State House) and View of Charlestown (1833; Annapolis, MD, US Naval Acad. Mus.) are full of carefully delineated figures, minute and accurate details of the ships and their rigging, and, most importantly, large expanses of sky dominated by strong light. Salmon's portrayal of light-filled water and sky, increasingly luminous in the late 1830s and early 1840s, has caused him to be considered by some as the father of LUMINISM (i). He used a low viewpoint and contrasted a distant shoreline and small-scale figures in the foreground in a manner that prefigured the work of Fitz Hugh Lane and Martin Johnson Heade, both of whom were influenced by Salmon's manipulation of scale, light and subject-matter. It appears that he returned to England before his death.
bruno liljefors
Bruno Andreas Liljefors (1860-1939) was a Swedish artist, the most important and probably the most influential wildlife painter of the late nineteenth and early twentieth century.[1] He also drew some sequential picture stories, making him one of the early Swedish comic creators. Liljefors is held in high esteem by painters of wildlife and is acknowledged as an influence, for example, by American wildlife artist Bob Kuhn.[1] All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.[1] However, he never exaggerated the ferocity of the predator or the pathos of the prey, and his pictures are devoid of sentimentality. The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in his Mallards, Evening of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname Panterfällen.[1] Bruno was fascinated by the patterns to be found in nature, and he often made art out of the camouflage patterns of animals and birds. He particularly loved painting capercaillies against woodland, and his most successful painting of this subject is the largescale Capercaillie Lek, 1888, in which he captures the atmosphere of the forest at dawn. He was also influenced by Japanese art, for example in his Goldfinches of the late 1880s.[1] During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life, as he left his wife, Anna, and took up with her younger sister, Signe, and was often short of money.[1] This darker quality in his paintings gradually began to attract interest and he had paintings exhibited at the Paris Salon. He amassed a collection of animals to act as his living models. Ernst Malmberg recalled: The animals seemed to have an instinctive trust and actual attraction to him...There in his animal enclosure, we saw his inevitable power over its many residents??foxes, badgers, hares, squirrels, weasels, an eagle, eagle owl, hawk, capercaillie and black game.[1] The greatness of Liljefors lay in his ability to show animals in their environment.[1] Sometimes he achieved this through hunting and observation of the living animal, and sometimes he used dead animals: for example his Hawk and Black Game, painted in the winter of 1883-4, was based on dead specimens, but he also used his memory of the flocks of black grouse in the meadows around a cottage he once lived in at Ehrentuna, near Uppsala. He wrote: The hawk model??a young one??I killed myself. Everything was painted out of doors as was usually done in those days. It was a great deal of work trying to position the dead hawk and the grouse among the bushes that I bent in such a way as to make it seem lively, although the whole thing was in actuality a still life.[1]