Dutch Baroque Era Painter, 1622-1674 German painter, active in the Netherlands and Italy. By 1634 his family had settled in Amsterdam, where presumably Lingelbach trained as a painter. According to Houbraken, he visited France in 1642 and arrived in Italy two years later. However, he is not mentioned in any document of 1644, although he is recorded in Rome from 1647 to 1649. The artist left Rome in 1650 and by 1653 was back in Amsterdam, where he remained until his death. Lingelbach is perhaps the only one of the Dutch Italianates with a catalogue of numerous signed and dated works to document his artistic development. The first two signed works are The Blacksmith (1650; Rome, Melmeluzzi priv. col., see Briganti, Trezzani and Laureati, fig. 10.1) and Self-portrait with Violin (1650; Zurich, Ksthaus). Unfortunately no certain works survive from the previous years. Kren (1982) attributed a series of works depicting Roman trades, some formerly ascribed to Pieter van Laer, to Lingelbach's early career. The original group consisted of three small paintings: the Acquavita-seller, the Cake-seller and The Tobacconist (all Rome, Pal. Corsini). While these paintings have some striking points in common with the Melmeluzzi Blacksmith of 1650 and the signed Dentist on Horseback (1651; Amsterdam, Rijksmus.), it is still uncertain whether they belong to Lingelbach's pre-1650 work or are by another hand   Related Paintings of LINGELBACH, Johannes :. | Die Zopfflechterin | Battle of Akhatle between Russians and Circassians on May | Moonlight | The wedding to canons | The Magpie |
Related Artists:
Jochem de Vries
painted The Zaandam shipping company Claes Tan en Zns Greenland farer Zaandam whaling in 1772
Maris, Jacob
Dutch, 1837-1899 was a Dutch painter, who with his brothers Willem and Matthijs belonged to what has come to be known as the Hague School of painters. Maris studied at the Antwerp Academy, and subsequently in Hubertus van Hove's studio during a stay in Paris from 1865 till 1871. He returned to Holland when the Franco-Prussian War broke out, and died there in August 1899. Though he painted, especially in early life, domestic scenes and interiors invested with deeply sympathetic feeling, it is as a landscape painter that Maris excelled. He was the painter of bridges and windmills, of old quays, massive towers, and level banks; even more was he the painter of water, and misty skies, and chasing clouds. In all his works, whether in water or oil color, and in his etchings, the subject is always subordinate to the effect. His art is suggestive rather than decorative, and his force does not seem to depend on any preconceived method, such as a synthetical treatment of form or gradations of tone. And yet, though his means appear so simple, the artist's mind seems to communicate with the spectator's by directness of pictorial instinct, and we have only to observe the admirable balance of composition and truthful perspective to understand the sure knowledge of his business that underlies such purely impressionist handling. Maris has shown all that is gravest or brightest in the landscape of Holland, all that is heaviest or clearest in its atmosphere for instance, in the " Grey Tower, Old Amsterdam," in the " Landscape near Dordrecht," in the " Sea-weed Carts, Scheven-ingen," in " A Village Scene," and in the numerous other pictures which have been exhibited in the Royal Academy, London, in Edinburgh (1885), Paris, Brussels
Elioth Gruner
New Zealand-born Australian Painter, 1882-1939,Australian painter. The son of a Norwegian father and Irish mother, he came to Sydney from New Zealand with his family in 1883. He received his first art lessons from Julian Rossi Ashton, although for many years he had little time for painting, instead working to support his family. He finally achieved recognition as an artist around the beginning of World War I. Following successful sales he became a full-time painter, championed in Sydney as the exemplary heir to the impressionist pastoral tradition of Australian art, which had been established in the late 19th century. Between 1915 and 1920, under the influence of Max Meldrum, he focused on the landscape as seen against the light. Painting en plein air he specialized in effects of early morning, for example Morning Light (1916; Sydney, A.G. NSW), one of a series painted at Emu Plains (1915-19),