1829-1901 se  Related Paintings of august malmstrom :. | skisserat laglant landskap med trad | klader pa en stol | harald hildetand | ett fortroende | kung heimer och aslog |
Related Artists:
Girolamo Forabosco
1604-1679 Italian Girolamo Forabosco Location Italian painter. He was active in Padua and Venice, where he was enrolled in the Fraglia dei Pittori between 1634 and 1639 and paid taxes from 1640 to 1644. His early work, such as the portrait of the so-called Menichina (1624; Rome, Pal. Barberini), was influenced by that of Alessandro Varotari (Padovanino), who had revived the style of Titian. He also adopted compositional and formal schemes from Tiberio Tinelli, as in the Portrait of a Woman. The large canvas of the Miraculous Rescue (1646; Malamocco, S Maria Assunta), commissioned by Giovanni Ventura as an ex-voto for his escape from a shipwreck, shows Forabosco, unconstrained by the narrative and devotional character premises of the undertaking, creating a tender portrait group, distinguished by its spontaneity. The most striking quality of his work is its combination of physiognomic exactitude with free, fluid brushwork.
Joseph Heintz
1564-1609 Swiss Painter, draughtsman, architect and artistic adviser, son of Daniel Heintz. He began his training as a painter c. 1579 with Hans Bock I (c. 1550-c. 1623) in Basle. His first surviving drawings (1580) show something akin to Holbein manner in his stained-glass window designs. After completing his apprenticeship he went c. 1584 to Rome, where he studied the works of antiquity, and those of Raphael, Michelangelo, Polidoro da Caravaggio and others. In 1587 he went via Florence to Venice, absorbing the works of Tintoretto, Titian and Veronese. In autumn 1591 the Holy Roman Emperor Rudolf II summoned him as portraitist and court painter to Prague but soon sent him back to Italy, where he drew ancient statues in addition to producing his own work and acting as art agent for the Emperor. In 1592-5 he stayed mainly in Rome, then returned to Prague. In the following years he worked indefatigably as a draughtsman, painter, architect and artistic adviser, moving between Augsburg and Prague.
NOVELLI, Pietro
Italian Baroque Era Painter, 1603-1647 Italian painter. He trained with his father, Pietro Antonio Novelli (1568-1625), a painter and mosaicist, then in 1618 in Palermo with Vito Carrera (1555-1623). He also studied perspective with the mathematician Carlo Maria Ventimiglia. Paolini (1980) suggested that in his early years Novelli may have contributed, with Domenico Fiasella and Nicolas Tournier, to a cycle of paintings in the oratory of S Stefano in Palermo and that he made a first journey to Rome between 1622 and 1625. His first dated work is from 1626: St Anthony Abbot (Palermo, S Antonio Abate). The development of his style owed much to Anthony van Dyck, who visited Sicily in 1624 and whose altarpiece, the Madonna of the Rosary (Palermo, oratory of S Maria del Rosario), was of fundamental importance to Novelli. Van Dyck's influence, which remained with Novelli throughout his career, is most apparent in the Death of the Just Man (Palermo, Gal. Reg. Sicilia), the Apparition of the Virgin to St Andrea Corsini (1630; Palermo, Chiesa del Carmine) and the Coronation of the Virgin