född 2 november 1858, död i december 1932, var en svensk idealistisk konstnär. Krouthen föddes i Linköping och var son till handlaren Conrad Krouthen och Hilda Åberg. Släkten Krouthen kom från Norrköping och flera generationer hade arbetat som tenngjutare. Familjenamnet Krut ändrades genom att varubeteckningen Krut-tenn förfranskades till Krouthen. Conrad Krouthen kom till Linköping 1850 och startade en manufakturaffär vid Stora torget. Affären gick bra och 1857 kunde han gifta sig med sömmerskan Hilda Åberg. Krouthen kunde växa upp i ett välmående hem och han fick börja skolan på läroverket i Linköping. Vid 14 års ålder slutade han skolan och började arbeta åt fotografen och målaren Svante Leonard Rydholm som hade en atelje vid St. Larsplan. Krouthen fick lära sig grunderna i både målning och fotografering och vid 16 års ålder började han på Konstakademiens principskola i Stockholm 1875. Den treåriga utbildningen innebar att eleverna fick lära sig att rita av klot och profiler, djur och växter. Efter de tre åren fick Krouthen fortsätta vid akademin. I kursen "Lägre antiken" fick eleverna rita av gipsmodeller, i "Högre antiken" teckna efter levande model och i "Landskapsskolan" fick eleverna måla landskap. Under studietiden sökte sig många elever utanför skolan och Krouthen lärde känna konstnären Edvard Perseus. Perseus var kritisk till utbildningen på akademin och tog med sina elever bland annat till Mariefred och Gripsholms slott för att måla av naturen.  Related Paintings of johan krouthen :. | Sommarlandskap med vandrande barn | gotlansk strand, | Scene from Halland North Coast | herdrnas tillbedjan | bibliotekarien segersteen i sitt hem |
Related Artists:
Ford Madox Brown
1821-1893 English painter and designer. The son of a retired ship's purser who had settled at Calais, Brown received an academic training under Albert Gregorius (1774-1853) at Bruges, under Pieter van Hanselaere (1786-1862) at Ghent and under Baron Gustaf Wappers at the Academie in Antwerp (1837-9). He moved to Paris in 1840, married the following year and studied independently of the ateliers
CIMA da Conegliano
Italian Painter, ca.1459-1517 Italian painter. He belonged to the generation between Giovanni Bellini and Giorgione and was one of the leading painters of early Renaissance Venice. His major works, several of which are signed, are almost all church altarpieces, usually depicting the Virgin and Child enthroned with saints; he also produced a large number of smaller half-length Madonnas. His autograph paintings are executed with great sensitivity and consummate craftsmanship. Fundamental to his artistic formation was the style that Bellini had evolved by the 1470s and 1480s; other important influences were Antonello da Messina and Alvise Vivarini. Although Cima was always capable of modest innovation, his style did not undergo any radical alteration during a career of some 30 years, and his response to the growing taste for Giorgionesque works from the early 16th century remained superficial. He seems to have maintained a sizeable workshop,
John William Godward
English 1861-1922 Godward was a Victorian Neo-classicist, and therefore a follower in theory of Frederic Leighton. However, he is more closely allied stylistically to Sir Lawrence Alma-Tadema, with whom he shared a penchant for the rendering of Classical architecture, in particular, static landscape features constructed from marble. The vast majority of Godward's extant images feature women in Classical dress, posed against these landscape features, though there are some semi-nude and fully nude figures included in his oeuvre (a notable example being In The Tepidarium (1913), a title shared with a controversial Alma-Tadema painting of the same subject that resides in the Lady Lever Art Gallery). The titles reflect Godward's source of inspiration: Classical civilisation, most notably that of Ancient Rome (again a subject binding Godward closely to Alma-Tadema artistically), though Ancient Greece sometimes features, thus providing artistic ties, albeit of a more limited extent, with Leighton. Given that Classical scholarship was more widespread among the potential audience for his paintings during his lifetime than in the present day, meticulous research of detail was important in order to attain a standing as an artist in this genre. Alma-Tadema was, as well as a painter, an archaeologist who attended historical sites and collected artefacts that were later used in his paintings: Godward, too, studied such details as architecture and dress, in order to ensure that his works bore the stamp of authenticity. In addition, Godward painstakingly and meticulously rendered those other important features in his paintings, animal skins (the paintings Noon Day Rest (1910) and A Cool Retreat (1910) contain superb examples of such rendition) and wild flowers (Nerissa (1906), illustrated above, and Summer Flowers (1903) are again excellent examples of this). The appearance of beautiful women in studied poses in so many of Godward's canvases causes many newcomers to his works to categorise him mistakenly as being Pre-Raphaelite, particularly as his palette is often a vibrantly colourful one. However, the choice of subject matter (ancient civilisation versus, for example, Arthurian legend) is more properly that of the Victorian Neoclassicist: however, it is appropriate to comment that in common with numerous painters contemporary with him, Godward was a 'High Victorian Dreamer', producing beautiful images of a world which, it must be said, was idealised and romanticised, and which in the case of both Godward and Alma-Tadema came to be criticised as a world-view of 'Victorians in togas'.