1836-1914  Related Paintings of WC Piguenit :. | A Spring Morning | A winter-s evening,Lane Cove | The Summit of the King William Range | The Flood on the Darling River | The Upper Nepean |
Related Artists:
Pedro Weingartner
(Porto Alegre, 1853 - 1929) was an important Academic painter of Brazil, and the first artist born in Rio Grande do Sul to win international praise for his work. Born to a family of German immigrants, he began his artistic career as an amateur, helped by his brother Inecio, who was a lithographer, and possibly also by painter Delfim da Câmara. Anyway, in 1878 he moved to Germany in order to study in the Grossherrzoglisch Badische Kunstschule, in Karlsruhe. There he became a pupil of Ferdinand Keller, Theodor Poeckh and Ernst Hildebrand. In 1880 Keller moved to Berlin, being followed by Weingärtner, who then enrolled in the local Academy. In 1882 he left Germany for France, studying in the Academie Julian under Tony Robert-Fleury and William Adolphe Bouguereau. Wrecked by financial issues, he thought of abandoning his studies, but such situation was reverted by supportive friends, including Baron of Itajube, who got for him a special scholarship from emperor Peter II upon Bouguereau's advice. Then he could further his education in Rome. Thereafter for many years he divided his time between Rio de Janeiro, Porto Alegre and Rome, traveling very often and being celebrated as one of the most important Brazilian painters of his generation. In Rio Grande do Sul he was a star. In 1920 he was back in Porto Alegre, where the remained until death. His fame declined from 1925 on, facing competition from new painters and changing tastes in local art.
Thomas Gainsborough
1727-1788 British Thomas Gainsborough Locations English painter, draughtsman and printmaker. He was the contemporary and rival of Joshua Reynolds, who honoured him on 10 December 1788 with a valedictory Discourse (pubd London, 1789), in which he stated: If ever this nation should produce genius sufficient to acquire to us the honourable distinction of an English School, the name of Gainsborough will be transmitted to posterity, in the history of Art, among the very first of that rising name. He went on to consider Gainsborough portraits, landscapes and fancy pictures within the Old Master tradition, against which, in his view, modern painting had always to match itself. Reynolds was acknowledging a general opinion that Gainsborough was one of the most significant painters of their generation. Less ambitious than Reynolds in his portraits, he nevertheless painted with elegance and virtuosity. He founded his landscape manner largely on the study of northern European artists and developed a very beautiful and often poignant imagery of the British countryside. By the mid-1760s he was making formal allusions to a wide range of previous art, from Rubens and Watteau to, eventually, Claude and Titian. He was as various in his drawings and was among the first to take up the new printmaking techniques of aquatint and soft-ground etching. Because his friend, the musician and painter William Jackson (1730-1803), claimed that Gainsborough detested reading, there has been a tendency to deny him any literacy. He was, nevertheless, as his surviving letters show, verbally adept, extremely witty and highly cultured. He loved music and performed well. He was a person of rapidly changing moods, humorous, brilliant and witty. At the time of his death he was expanding the range of his art, having lived through one of the more complex and creative phases in the history of British painting. He painted with unmatched skill and bravura; while giving the impression of a kind of holy innocence, he was among the most artistically learned and sophisticated painters of his generation. It has been usual to consider his career in terms of the rivalry with Reynolds that was acknowledged by their contemporaries; while Reynolds maintained an intellectual and academic ideal of art, Gainsborough grounded his imagery on contemporary life, maintaining an aesthetic outlook previously given its most powerful expression by William Hogarth. His portraits, landscapes and subject pictures are only now coming to be studied in all their complexity; having previously been viewed as being isolated from the social, philosophical and ideological currents of their time, they have yet to be fully related to them. It is clear, however, that his landscapes and rural pieces, and some of his portraits, were as significant as Reynolds acknowledged them to be in 1788.
Richard Jack
1866-1952