1840-1920 Danish painter, sculptor and draughtsman. He studied at the Kongelige Akademi for de Skenne Kunster, Copenhagen, in 1862-3 and 1865-9, and in Paris under Leon Bonnat in 1875-6. He was an important figure in the development and renewal of Danish naturalism, linking the Danish Golden Age tradition with new French ideas. Conscious of the importance of plein-air painting, he was first a great admirer of the Barbizon school; later he was influenced by the Impressionists, becoming the only truly Danish Impressionist. Frequent visits abroad helped him develop his outlook; he eagerly studied the Old Masters, and the strong light of the south   Related Paintings of Theodor Esbern Philipsen :. | Fruhlingsabend | Indian Summer | Port of Ostia in Calm Weather | the artist s studio | Portrait of a Lady with a Fan |
Related Artists:
George Durrie
Landscape painter, Portrait Painter . American , 1820-1863 American painter. Durrie and his older brother John (1818-98) studied sporadically from 1839 to 1841 with the portrait painter Nathaniel Jocelyn. From 1840 to 1842 he was an itinerant painter in Connecticut and New Jersey, finally settling permanently in New Haven. He produced c. 300 paintings, of which the earliest were portraits (e.g. Self-portrait, 1839; Shelburne, VT, Mus.); by the early 1850s he had begun to paint the rural genre scenes and winter landscapes of New England that are considered his finest achievement. His landscapes, for example A Christmas Party (1852; Tulsa, OK, Gilcrease Inst. Amer. Hist. & A.), are characterized by the use of pale though cheerful colours and by the repeated use of certain motifs: an isolated farmhouse, a road placed diagonally leading the eye into the composition, and a hill in the distance. By the late 1850s Durrie's reputation had started to grow, and he was exhibiting at prestigious institutions, such as the National Academy of Design. In 1861 the firm of Currier & Ives helped popularize his work by publishing prints of two of his winter landscapes, New England Winter Scene and the Farmyard in Winter.
Cornelis Norbertus Gysbrechts
(ca 1630 - after 1683) was a Flemish painter of still life and trompe-l'œil active in the second half of the seventeenth century. Gysbrechts was born in Antwerp, where, according to the RKD, he became a member of the Guild of St. Luke in 1660. He signed his name with "CND". His first known paintings date from 1659 in Antwerp. He painted in 1664 in Regensburg, from 1665-1668 in Hamburg and from 1668 to 1672 at the court in Copenhagen.
Pieter de Kempener
Pedro Campana (1503-1586) was a Flemish painter of the Renaissance period, mainly active in Italy and Spain. His actual name was Pieter de Kempeneer, translated into French as Champaigne, and was also known as Peter Van de Velde. Born in Brussels, he trained there with Bernard Van Orley. His early life appears to have been spent in Italy, where he carefully studied the paintings of Raphael, and declared himself as his pupil. In 1530 he was at work at some scene-painting, representing a triumphal arch to be erected on the occasion of the coronation of Charles V, Holy Roman Emperor in Bologna, and he then left for Spain, on the advice, it is said, of Cardinal Domenico Grimani, and spent the rest of his life in that country, only returning to Brussels about 1563 or 1565. Between 1537 and 1562 he was associated with Luis de Vargas and the Italian sculptor Torregiano in establishing a school of painting in Seville, which eventually became the academy of the place; amongst the pupils educated in it was Morales. He painted for the monastery of St. Mary of Grace, Church of Santa Cruz, in the city, an altar-piece representing the Descent from the Cross (1548), which is now in the cathedral, having been removed there when the church fell into ruins. There are other works by the same painter in Seville Cathedral, especially two representing the Purification of the Virgin and the Resurrection; and the various churches of the city, S. Isidoro, S. Pedro, S. Catalina, and S. Juan, all possess paintings by this artist. One of his last works was the restoration and repainting of a chapel belonging to Hernando de Jaen, an important resident of Seville. Murillo requested that he be buried near Campana's picture, and his burial took place in the Church of Santa Cruz, close underneath the Descent from the Cross, but the whole building was burned to the ground during the Napoleonic Wars, and the tomb perished.