German , 1761-1847 He revealed an interest in art while still at school and, though he began to study theology in Leipzig in 1778, he soon transferred to the private art academy of Adam Friedrich Oeser (1717-99). Here he made copies of the work of his teacher and drew after plaster casts of antique statues. The Liber Veritatis, a collection of 200 drawings by Claude Lorrain, was also used as a model and had an important influence on him. In 1783 he went to Dresden where he was especially attracted to the Dutch landscape paintings in the Gem?ldegalerie. In 1785 Reinhart returned to Leipzig where he made the acquaintance of the German poet Friedrich Schiller, with whom he had a lifelong friendship, and to whom he later dedicated an etching of a heroic landscape (1800). From 1786 to 1789, while resident at the court of the Duke of Sachsen-Meiningen, he explored the Thuringian countryside on foot, making sketches as he went.  Related Paintings of Johann Christian Reinhart :. | Sobach's Dream | Pierrepont Edward Lacey(1832-after 1860)and his dog.Gun | Germania, by Philipp Veit | The Annunciation to Joachim rrt | Lettre avec trois prunes (mk40) |
Related Artists:
Bartolo di Fredi
Italian Gothic Era Painter, ca.1330-1410 He had a large studio and was one of the most influential painters working in Siena and the surrounding towns in the second half of the fourteenth century. He registered in the Guild of that city in 1355; he had several children, who all died before him, with the exception of Andrea Bartoli. He was the companion of Andrea Vanni from 1353, and helped decorate the Hall of Council at Siena, in 1361. In 1362 he went to San Gimignano, where, by 1356, he had painted the entire side of the left aisle of the Pieve with scenes drawn from the Old Testament. In 1366 the Council of the city of Gimignano ordered a painting, representing Two Monks of the Augustine Order to be placed in the Palazzo Pubblico, in order to commemorate the settlement of some disputes which had long existed between that order and the city. In the early part of 1367 he returned to Siena, and was employed with Giacomo di Mino in the decorations of the cathedral. In 1372 he rose to a position in the government of the city, and was sent to welcome the new Podesta, on his approach to Siena. In 1381 he was himself made a member of the Council, and in 1382 he executed the Descent from the Cross now in the Sacristy of San Francesco, Montalcino. The same church also possesses panels painted by him containing the Baptism of Christ figures of SS. Peter, Paul, and Francis, and five scenes from the life of St. Philip of Montalcino. In 1389, Bartolo, assisted by Luca Thome, painted the altar-piece for the Shoemakers Company, in the Cathedral, and continued from that year until his death to furnish altar-pieces for the cathedral and other churches of Siena, which have now all disappeared. His style is marked by the rejection of the concrete figures associated with Pietro Lorenzetti to instead favor flatter decorative otherworldly compositions in the manner of Simone Martini and Duccio. He combined a spirit of fantasy with anecdotal details. The Honolulu Academy of Arts, the Los Angeles County Museum of Art, the Louvre, the Metropolitan Museum of Art, the Mus??e des Beaux-Arts (Chambery, France), the Musee du Petit Palais (Avignon, France), Museo Civico e Diocesano d Arte Sacra (Montalcinothe, Italy), the Museum of Fine Arts, Boston and the University of Virginia Art Museum are among the public collections having paintings by Bartolo di Fredi.
Henry F. Farny
French-born American Painter and Printmaker, 1847-1916
Jean Greuze
French 1725-1805 French painter and draughtsman. He was named an associate member of the Acad?mie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Sim?on Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Fran?ois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850,