Canadian Painter, 1859-1906  Related Paintings of William blair bruce :. | Self-Portrait | The Mother Gods | Portrait of the 9th Duke of Marlborough with his family | THe Surrender of the Army of Northern Virginia,April 12 1865 | Marryrdom of St Bartholomew |
Related Artists:
Severin Nilsson
(1846 - 1918) was a Swedish painter and photographer. He was born in Halland in the south of Sweden. He studied at the Royal Swedish Academy of Arts in Stockholm 1865 - 1871 and then under Leon Bonnat in Paris for three years. Severin painted portraits, landscapes and genre pictures. A prolific artist, he participated in numerous exhibitions and left behind a large and diverse production of work. He was also one of the first Swedish documentary photographers. Inspired by Arthur Hazelius, he made photographic studies of public life, especially in the village Asige in Halland, where he was born
Thomas Beach
British Painter, 1738-1806,English painter. He studied with Joshua Reynolds from 1760 until early in 1762, during which time he was also a student at the St Martin's Lane Academy, London. He probably settled in Bath; his recorded portraits of the 1760s are all of sitters from Dorset or Somerset, and he sent two portraits from an address in Bath to the Society of Artists exhibition of 1772. He exhibited with the Society until 1783, becoming its vice-president (1782) and president (1783) he also exhibited at the Royal Academy (1785-90, 1797). He probably divided his mature practice between London and Bath. His early reliance on Reynolds's ideas of propriety gave way to a more direct approach, seen at its best in such group portraits as The Stapleton Family (1789; U. Bath, Holburne of Menstrie Mus.). In this work, the four children are shown in costume, as a fortune-teller and her customers. The theatrical element in Beach's work, reflecting his interest in the stage, is seen most strikingly in Sarah Siddons and John Philip Kemble in 'Macbeth' Act 2, Scene ii (1786; London, Garrick Club). Beach's diary for 1798, the only one to have survived, chronicles what appears to have been an annual tour of the west country; that year he completed 31 portraits between June and December. Beach was able to capture a strong likeness and this, despite a certain naivety and awkwardness in composition, was enough to establish his reputation in moderately fashionable provincial circles. His last recorded work is a Self-portrait
Ostade, Adriaen van
Dutch Baroque Era Painter, 1610-1685 Painter, draughtsman and etcher. According to Houbraken's rather unreliable biography, he was a pupil concurrently with Adriaen Brouwer of Frans Hals in Haarlem. Hals influenced him very little, whereas Brouwer, who was described as 'known far and wide' as early as 1627, had a decisive influence on the evolution of Adriaen van Ostade's always idiosyncratic portrayal of peasant life. The first documentary mention of Adriaen van Ostade as a painter is in 1632 (Schnackenburg, 1970). Most of his paintings are signed and dated, the earliest firmly dated example being the Peasants Playing Cards (1633; St Petersburg, Hermitage).