1801-1848 Thomas Cole Galleries Thomas Cole (February 1, 1801 - February 11, 1848) was a 19th century American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism. In New York he sold three paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where he visited the Catskill Mountain House and painted the ruins of Fort Putnam. Returning to New York he displayed three landscapes in the window of a bookstore; according to the New York Evening Post, this garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Among the paintings was a landscape called "View of Fort Ticonderoga from Gelyna". Trumbull was especially impressed with the work of the young artist and sought him out, bought one of his paintings, and put him into contact with a number of his wealthy friends including Robert Gilmor of Baltimore and Daniel Wadsworth of Hartford, who became important patrons of the artist. Cole was primarily a painter of landscapes, but he also painted allegorical works. The most famous of these are the five-part series, The Course of Empire, now in the collection of the New York Historical Society and the four-part The Voyage of Life. There are two versions of the latter, one at the National Gallery in Washington, D.C., the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. Cole spent the years 1829 to 1832 and 1841-1842 abroad, mainly in England and Italy; in Florence he lived with the sculptor Horatio Greenough.  Related Paintings of Thomas Cole :. | Mount Etna from Taormina | The Oxbow | Titan s Goblet | The Cascatelli ivoli, Looking Towards Rome | The Consummation from the series : The Course of the Empire |
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Emanuel de Witte
(1617 - 1692) was a Dutch perspective painter. In contrast to Pieter Jansz Saenredam, who emphasized architectural accuracy, De Witte was more concerned with the atmosphere of his interiors. Though few in number, de Witte also produced genre paintings. De Witte was born in Alkmaar and learned geometry from his father, a schoolmaster. He joined the local Guild of St Luke in 1636. After a stay in Rotterdam, he moved to Delft and studied with Evert van Aelst. In 1651 de Witte settled in Amsterdam where his first wife, Geerje Arents, died in 1655. He then married a 23-year-old orphan, Lysbeth van der Plas, who exercised a bad influence on de Witte's adolescent daughter. In December 1659 both were arrested for theft from a neighbor.Lysbeth, pregnant, had to leave the city for a period of six years; she lived outside the city walls and died in 1663. Following the arrest of his wife and child, de Witte was forced to indenture himself to the Amsterdam notary and art dealer Joris de Wijs, surrendering all of his work in exchange for room, board, and 800 guilders annually. De Witte broke the contract, was sued by the dealer, and forced to indenture himself further as a result. Several patrons provided de Witte with support, but these relations did not work out well, for he tended to shout at his clients and at people watching him at work in churches. Records tell of his gambling habit and a fight with Gerard de Lairesse. According to Arnold Houbraken, after an argument about the rent, de Witte hanged himself from a canal bridge in 1692. The rope broke and de Witte drowned. Because the canal froze that night, his corpse was not found until eleven weeks later
Alexandre Cabanel
1823-1889 French Alexandre Cabanel Locations French painter and teacher. His skill in drawing was apparently evident by the age of 11. His father could not afford his training, but in 1839 his departement gave him a grant to go to Paris. This enabled him to register at the Ecole des Beaux-Arts the following October as a pupil of Francois-Edouard Picot. At his first Salon in 1843 he presented Agony in the Garden (Valenciennes, Mus. B.-A.) and won second place in the Prix de Rome competition (after Lon Benouville, also a pupil of Picot) in 1845 with Christ at the Praetorium (Paris, Ecole N. Sup. B.-A.). Both Cabanel and Benouville were able to go to Rome, as there was a vacancy from the previous year. Cabanel Death of Moses (untraced), an academic composition, painted to comply with the regulations of the Ecole de Rome, was exhibited at the Salon of 1852. The pictures he painted for Alfred Bruyas, his chief patron at this time (and, like Cabanel, a native of Montpellier), showed more clearly the direction his art had taken during his stay in Italy. Albayde, Angel of the Evening, Chiarruccia and Velleda (all in Montpellier, Mus. Fabre) were the first of many mysterious or tragic heroines painted by Cabanel and show his taste for the elegiac types and suave finish of the Florentine Mannerists.
Richard Wright
painted The Battle of Quiberon Bay in 1760