1836-1912   Related Paintings of Sir Lawrence Alma-Tadema,OM.RA,RWS :. | A Favourite Custom | The Baths at Caracalla | The Roses of Heliogabalus | The Triumph of Titus by Lawrence Alma-Tadema | A Favourite Custom |
Related Artists:
Vladimir Borovikovsky
1757-1825,Russian painter of Ukrainian birth. Along with Fyodor Rokotov and Dmitry Levitsky, Borovikovsky is one of the three great Russian portrait painters of the second half of the 18th century. He was trained by his father and brothers, who were icon painters. His early works were also icons, such as the Mother of God (1784; Kiev, Mus. Ukrain. A.) and King David (1785; St Petersburg, Rus. Mus.); they are archaic in style and resemble portraits produced by Ukrainian folk artists. At the end of the 1780s Borovikovsky moved to St Petersburg and took up portrait painting. He was aided by advice from Levitsky and took lessons from Johann Baptist Lampi (i). He soon became established, gaining a reputation as a brilliant colourist, and he received many commissions. Throughout his career, however, he continued to paint icons from time to time. In 1795 he became a member of the St Petersburg Academy of Arts; he was also closely connected with many of the chief exponents of Russian culture in the city. The number of his surviving works is large (at least 400 portraits). He had his own workshop, and he would often rely on assistants to paint the less important parts of a portrait. His sitters included members of the imperial family, courtiers, generals, many aristocrats and figures from the Russian artistic and literary worlds. Most of his portraits are intimate in style. A particularly touching example is the portrait of Ol ga Filippova, the wife of a close friend (c. 1790; St Petersburg, Rus. Mus.), who is seen in a white peignoir with a park in the background. The portrait is painted in a flowing style; the combination of light, subdued tones, typical of Borovikovsky, gives an impression of tender femininity and quiet contemplation.
Walter Griffin
1861-1935 Walter Burley Griffin November 24, 1876?CFebruary 11, 1937) was a US architect and landscape architect, who is best known for his role in designing Canberra, Australia's capital city. He has also been credited with the development of the L-shaped floor plan, the carport and the first use of reinforced concrete. Influenced by the Chicago-based Prairie School, Griffin went on to develop a unique modern style. For much of his career Griffin worked in partnership with his wife Marion Mahony Griffin. In the 28 years of their architectural partnership, the Griffins designed over 350 building, landscape and urban-design projects as well as designing construction materials, interiors, furniture and other household items.
Henry Dawson
a landscape painter, was born in Hull in 1811, but came with his parents to Nottingham when an infant, so that he always regarded the latter as his native town. His parents were poor, and he began life in a Nottingham lace factory. But even while engaged in lace-making he continued to find time for art, and used to paint small pictures, which he sold at first for about half-a-crown each. In 1835 he gave up the lace trade and set up as an artist, his earliest patron being a hairdresser in Nottingham, who possessed a taste for art. In 1844 he removed to Liverpool, where after a time he got into greater repute, and received higher prices for his works. In 1849 he came with his family to London, and settled at Croydon, where some of his best pictures were painted. Among these may be reckoned 'The Wooden Walls of Old England,' exhibited at the British Institution in 1853, 'The Rainbow,' 'The Rainbow at Sea,' 'London Bridge,' and ' London at Sunrise.' With the exception of six lessons from Pyne received in 1838, Henry Dawson was entirely a self-taught artist, and his art shows much originality and careful realism. He studied nature for himself, but he seems in later life to have been moved by Turner's influence to try more brilliant effects than he had before dared. Many of his works indeed are very Turneresque in treatment, though he can scarcely be called an imitator of Turner, for he had a distinct style of his own. Henry Dawson, though painting much, and selling his pictures for high prices in his later life, remained, strange to say, very little known except to artists and connoisseurs until the large and very interesting collection of his works that was made for the Nottingham Exhibition in 1878 brought him wider fame. This exhibition showed him to be a genuine English landscape painter, of no great imaginative or intellectual power, but who delighted in nature, and represented her faithfully to the best of his ability. He died in December 1878, at Chiswick, where he had for some time resided.