1874-1911 Anders Trulson, född 14 juli 1874 i Tosterup, död 23 augusti 1911 i Italien, var en svensk konstnär. Anders Trulson föddes i Tosterup, där fadern var kusk på ett gods. Han fick sin utbildning i Köpenhamn och Stockholm, och blev enligt flera en dansksvensk blandning. Han bodde flera år i Lund innan hans utlandsresor började 1905, bland annat till Paris och Bregge. Trulson dog 1911 bara 37 år gammal på resa i Italien. 1902 var han med och grundade Skånska konstnärslaget som tillsammans med Konstföreningen för södra Sverige var centrum för det skånska konstlivet. Skånes konststil och liv var till stor del utanför övriga Sveriges, inte minst landskapsmåleriet vilket var präglat av ett eget färgspel.  Related Paintings of anders trulson :. | oliver vid gardasjon | mnen i arild | martenstorget med schlyterska | tvatt, motiv fran civita d'antino | portratt af ciceloren sven bengtsson |
Related Artists:
Ammi Phillips
(1788-1865), a self-taught New England portrait painter, is regarded as one of the most important folk artists of his era. Phillips was born in Colebrook, Connecticut, and began painting portraits as early as 1810. He worked as an itinerant painter in Connecticut, Massachusetts, and New York for five decades. In 1924, a group of portraits of women, shown leaning forward in three-quarter view and wearing dark dresses, were displayed in an antique show in Kent, Connecticut. The anonymous painter of these strongly colored works, which dated from the 1830s, became known as the "Kent Limner," after the locality where they had come to light. Stylistically distinct from those of the "Kent Limner," a second group of early-19th-century paintings emerged after 1940 in the area near the Connecticut?CNew York border. Attributed at the time to an unknown "Border Limner," these works, dating from the period 1812?C1818, were characterized by soft pastel hues, as seen in the portrait of Harriet Leavens, now in the Fogg Art Museum, Harvard University. It was not until 1968 that Ammi Phillips's identity as the painter of both groups of portraits was established. Additional works were identified, showing the artist's transition from the delicate coloration of the Border period to the bold and somber works that followed.
Gillis Mostraert
Hulst 1534-Antwerp after 1598
Benjamin Robert Haydon
English Romantic Painter, 1786-1846 1786-1846.was an English historical painter and writer. Haydon was born at Plymouth. His mother was the daughter of the Rev. Benjamin Cobley, rector of Dodbrooke, near Kingsbridge, Devon. Her brother, General Sir Thomas Cobley, was renowned for his part in the siege of Ismail. Benjamin's father, a prosperous printer, stationer and publisher, was well known in Plymouth. Haydon, an only son, at an early date showed an aptitude for study, which was carefully fostered by his mother. At the age of six he was placed in Plymouth grammar school, and at twelve in Plympton St Mary School, the same school where Sir Joshua Reynolds had received most of his education. On the ceiling of the school-room was a sketch by Reynolds in burnt cork, which Haydon loved to sit and look at. Whilst at school he had some thought of adopting the medical profession, but he was so shocked at the sight of an operation that he gave up the idea. Reading Albinus inspired him with a love for anatomy; but from childhood he had wanted to become a painter. Full of energy and hope, he left home, on 14 May 1804, for London, and entered the Royal Academy as a student. He was so enthusiastic that Henry Fuseli asked when he ever found time to eat. Aged twenty-one (1807) Haydon exhibited, for the first time, at the Royal Academy, The Repose in Egypt, which was bought by Thomas Hope the year after for the Egyptian Room at his townhouse in Duchess Street. This was a good start for the young artist, who shortly received a commission from Lord Mulgrave and an introduction to Sir George Beaumont. In 1809 he finished his well-known picture of Dentatus, which, though it increased his fame, resulted in a lifelong quarrel with the Royal Academy, whose committee had hung it in a small side-room instead of the great hall. That same year, he took on his first pupil, Charles Lock Eastlake, later destined to become one of the great figures of the British art establishment. In 1810 his financial difficulties began when the allowance of £200 a year from his father was stopped. His disappointment was embittered by the controversies in which he now became involved with Beaumont, for whom he had painted his picture of Macbeth, and Richard Payne Knight, who had denied the beauties as well as the money value of the Elgin Marbles.