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ROMNEY, George
English Painter, 1734-1802
The son of a cabinetmaker, George Romney was born in Dalton, Lancashire. He was apprenticed in 1755 to Christopher Steele, a provincial portrait painter, but was largely self-taught. Romney's ambition was to become a history painter. In 1762 he moved to London, where he studied the Duke of Richmond's collection of casts of antique sculpture and established himself as a portraitist. He went to Italy in 1773, and after his return in 1775 he became the favorite painter of high society. Morbidly sensitive and retiring, Romney kept aloof from the social world of his sitters and from the Royal Academy. By 1782 he was under the spell of Emma Hart, later Lady Hamilton and the mistress of Nelson, who sat for him as Circe, a Bacchante, Cassandra, the Pythian Priestess, Joan of Arc, St. Cecilia, Mary Magdalene, and other impersonations he suggested. In the 1780s he executed a number of Eton leaving portraits, which established him as the supreme interpreter of aristocratic adolescence in his age. For much of his life in London, Romney was under the wing of the poet William Hayley, who encouraged him in the choice of subjects from Milton and Shakespeare as well as the Bible and Greek tragedy. Romney's history paintings are today chiefly known from engravings, like the dramatic Tempest (1787-1790) commissioned for John Boydell's Shakespeare Gallery. A large number of drawings for these projects survive. Romney had married early in life an uneducated woman whom he did not bring to London but to whom he returned when his health finally gave way. Ill health and the facility with which he converted his early realistic style into a fashionable sketchlike formula for idealizing his sitters probably account for an unevenness of execution that has partially justified his critics. Unlike Joshua Reynolds, Romney did not enter into the character of his sitters, unless they possessed nervous traits like his own, for example, the moving portrait William Cowper. But he was psychologically involved with the generalized charms of youth, beauty, and breeding that he admired in his aristocratic sitters, and by combining a neoclassic purity of line with free but masterly brushwork he achieved a number of incomparable images which transcend the realism of portraiture. Related Paintings of ROMNEY, George :. | Sidonian Recollections | Recollections | The Leigh Family (mk08) | The Leigh Family d | Lady in a Brown Robe s | Related Artists: Ferdinand bolDutch Baroque Era Painter, 1616-1680
Dutch painter and draughtsman. He was a pupil and prominent follower of Rembrandt in Amsterdam. His reputation and fame are based on his history paintings, which, though successful at the time, Phillips, ThomasEnglish, 1770-1845
From a respectable but impoverished family, he left school aged 13 to be apprenticed to Francis Eginton of Birmingham, a glass painter and early pioneer in reproduction by a 'photographic method'. The chiaroscuro effects of this process were a lasting influence on Phillips's style. In 1790 he moved to London to study at the Royal Academy and simultaneously assisted in Benjamin West's studio. He exhibited at the Royal Academy from 1794 to 1844 and was elected ARA in 1804, RA in 1808 and Professor of Painting in succession to Henry Fuseli from 1825 to 1832. Johann Koler (8 March 1826, in Vastemõisa near Suure-Jaani, Viljandi County, Estonia - 22 April 1899 in St. Petersburg, Russia) was an Estonian painter. He is considered to have been the first professional Estonian painter. He distinguished himself primarily by his portraiture and to a lesser extent by his landscape paintings. Some of his most notable pictures depict the Estonian rural life in the second half of the 19th Century.
Johann Köler was the seventh child born to a peasant family. Despite the poverty of the parents Köler managed to attend the elementary and the district schools in Viljandi. Then he attended a workshop of master painters in Cesis (then in Livonia).
In 1846, Köler travelled to St. Petersburg to work as a sign writer, where his talent was soon discovered. From 1848 to 1855 Johan Köler studied drawing and painting at the St. Petersburg Imperial Academy of Arts.
During 1857 Köler travelled to Paris via Berlin, later returned to Germany then travelled to the Netherlands and Belgium. In 1858, he travelled across the Alps to Milan, Geneva, Florence and Rome. There, he studied in a private academy and devoted his time to watercolor technique. In Rome during 1859 he presented his composition "Christ on the Cross".
Answering the call of the St. Petersburg Academy of Arts, Köler returned to the city in 1861. From 1862 to 1874 he was a teacher of the Grand Duchess Maria Aleksandrovna, the daughter of Czar Alexander II of Russia. In 1869-1870, he worked as a lecturer at the St. Petersburg Academy of Arts. From 1886 to 1889 Johan Köler worked in Vienna, Nice and Paris.
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