American Hudson River School Painter, 1803-1889,Painter and teacher. By his own account he was self-taught, with the exception of a few lessons from an unknown heraldic painter named Robert Cooke. However, after exhibiting a few works that were praised by the local press, he was sent to Italy by a group of New York and Philadelphia businessmen for further studies. There he trained with Florentine history painter Pietro Benvenuti. After three years in Europe (1824-7), he returned to New York, where he quickly became a mainstay of the artistic community. In 1831 he was elected to membership in the National Academy of Design in New York, and three years later he was made instructor of drawing at the US Military Academy in West Point, New York, a post he held for the next 42 years. Most scholars agree that he was more important as a teacher than as a painter. His best known work is the Embarkation of the Pilgrims (1837-43), which hangs in the Rotunda of the US Capitol Building in Washington, DC.   Related Paintings of Robert W. Weir :. | The Apotheose of S | Arab or Arabic people and life. Orientalism oil paintings 302 | Arthur Balfour | The Musicians | Indoor |
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Garofalo
1481-1559 Italian Garofalo Gallery Italian painter. Active mainly in Ferrara and the district around the Po delta, he was one of the most outstanding figures in Emilian classicism during the first half of the 16th century. In 1497 Garofalo father paid Boccaccio Boccaccino to teach his son the rudiments of painting. Garofalo first works were directly influenced by the Cremonese painter, to whom they were formerly even attributed. They consist of a series of small paintings depicting the Virgin and Child. The example in the Ca d Oro in Venice must have been Garofalo first painting and reveals not only the lessons learned from Boccaccino, but also signs of the influence of Domenico Panetti (c. 1460-before 1513), traditionally recorded as his first master. Another Virgin and Child (Assisi, Perkins priv. col.) shows signs of the early influence of Lorenzo Costa the elder, while the example in the Nationalmuseum, Copenhagen, shows a similarity with the early works of his contemporary, Lodovico Mazzolino. A particularly important project in Ferrara during the earliest years of the 16th century, involving numerous highly skilled artists, was the fresco decoration of the oratory of the Concezione. The frescoes (Ferrara, Pin. N.) represent a significant development in the city art. Garofalo hand has been identified in the Presentation in the Temple, in which he reveals a familiarity not only with local art, but also with the high points of Bolognese classicism, whose greatest exponents were Francesco Francia and Lorenzo Costa the elder. Around 1505, Garofalo works show a close familiarity with artistic developments in Bologna, in particular the mature style of Costa and the decoration in 1505-6, by Francesco Francia, Costa, Aspertini and others, of the oratory of S Cecilia in S Giacomo Maggiore. Garofalo Virgin Enthroned between SS Martin and Rosalia (Florence, Uffizi), created for Codigoro Cathedral, should be seen within this context, whereas the small altarpiece for the Arcivescovado, Ferrara, although executed at the same time, shows early, if faint, signs of the influence of Venetian painting of the period.
COECKE VAN AELST, Pieter
Flemish Northern Renaissance Painter, ca.1502-1550 South Netherlandish painter, architect, and linguist. After extensive travels he settled in Antwerp, where he published (1539) a Flemish translation of Vitru-vius's De Architectura and (1539?C53) Serlio's multi-volume treatise into Flemish, French, and High German.
Josef Englehart
Austrian 1864-1941