Swedish, 1732-1816,was a Swedish artist and since 1794 a professor at the Swedish Royal Academy of Art. He became the director in 1810. He produced numerous paintings of mostly women and children performing various daily tasks inside upper- and middle-class homes in Stockholm. Dresses and furniture were painted exactly the way they looked and provide a valuable source of information about what life was like in those days. In addition to this he painted craftsmen in action at mills and other early industrial workplaces. Between 1757 and 1772 he worked as a master tapestry weaver, after learning the trade in France.   Related Paintings of Pehr Hillestrom :. | En piga hoser sappa utur en kiettel i en skal | Self-portrait | Den fortrollade skogen | skulpturgalleriet i kongl | Self portrait |
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Theodor Kalide
1801 Konigshutte-1863 Gleiwitz,German sculptor. At the age of 15 he was apprenticed at the K?nigliche Eisengiesserei in Gleiwitz, where he soon began sculpting cast-iron plaques. In 1819 Johann Gottfried Schadow summoned him to Berlin, where he was instructed in chasing by Cou? and worked in the Berlin Eisengiesserei. In 1821 he transferred to the studio of Christian Daniel Rauch. Following Rauch's example and under his influence, Kalide produced such large animal sculptures as the Resting Lion and the Sleeping Lion (several casts, e.g. zinc, 1824; Berlin, Schloss Kleinglienicke). From 1826 to 1830 Kalide worked on equestrian statuettes, including those of Frederick William II (zinc), after the model by Emanuel Bardou (1744-1818), and Frederick William III (e.g. cast iron; both Berlin, Schloss Charlottenburg, Schinkel-Pav.). In 1830 he became a member of the Berlin Akademie. His most popular works included the life-size bronze group Boy with a Swan (1836), which was installed on the Pfaueninsel in Berlin as a fountain (several casts, all untraced). Kalide achieved wide recognition and aroused violent controversy with his almost life-size marble figure Bacchante on the Panther (1848; Berlin, Schinkelmus., badly damaged). This work transgressed the accepted boundaries of classical art, above all in the figure's provocative pose, and was perceived as shocking. In its uninhibited sensuality and its blending of the human and the animal, it offended the conservative Berlin public, and consequently Kalide received few new commissions. He had no success with competition designs and became increasingly embittered. He spent his last years at Gleiwitz, where he died.
Christen Kobke
1810-1848 Danish Christen Kobke Galleries He lived in Kastellet until 1833 and made many paintings of the area. His painting "Gården ved bageriet i Kastellet" (ca. 1832) hangs in the Ny Carlsberg Glyptotek museum in Copenhagen. In 1832 he shared a studio with friend, landscape painter Frederik Hansen Sødring. He painted a portrait of Sødring which now hangs in the Hirschsprung Collection. In 1834 he moved, along with his parents, outside of Copenhagen??s fortifications near Sortedamssøen, a lake area. He painted many views overlooking the lake towards the city and the embankments surrounding the city. His work becomes larger, more monumental. Like many of his contemporary artists he came under the influence of Niels Lauritz Høyen, art historian, who promoted a nationalistic art. Høyen called for artists to search for subject matter in the folk life of their country instead of searching for themes in other lands, such as Italy (which was at that time considered a requirement for an artist??s training). On a visit to Hillerod in 1835 he painted a romantic picture of Frederiksborg Palace, "Frederiksborg Slot ved Aftenbelysning" ("Frederiksborg Palace in the Evening Light"). At the end of 1837 he married Susanna Cecilie Kobke (1810-1849), and shortly afterwards painted a portrait of his young bride. One of the Small Towers on Frederiksborg Castle, c.1834-35.In 1838 he received a travel stipend from the Academy, left his new wife and traveled over Dresden and Munich to Italy accompanied by decorative painter Georg Hilker. They arrived in Rome by year??s end where he met brother-in-law Frederik Christopher Krohn, sculptor and medallionist, and many other Danish artists. He traveled, along with Constantin Hansen the following summer to Naples, Sorrento, Pompeii and Capri where he painted out in the open air. He returned home in 1840 with a large collection of sketches for later use and inspiration. Unfortunately, most his later work with these Italian themes was uninspired, and they found little favor. Kobke even considered at the time becoming a decoration painter, having participated in 1844-1845 in the decoration of the Thorvaldsens Museum, a museum dedicated to the artistic works of Bertel Thorvaldsen. Two years after his father died in 1843 the family sold the property outside Copenhagen, and Kobke moved back into the city. His application for admission to the Academy, which was accompanied by one of his failed Italian landscapes, was rejected in 1846. He died in 1848 of pneumonia, and is buried in Assistens Kirkegard. Kobke, a national romantic, painted portraits, landscapes and architectural paintings. Most of Kobke??s portraits show friends, family members and fellow artists. He found most of his motifs in his immediate surroundings. Now he is recognized internationally for his well composed and harmonic paintings, for their coloristic qualities and for his sense of the everyday life. But in his lifetime he was almost forgotten, especially because of his early death and limited production. Despite his talent and the praise of various contemporaries, Kobke had never been inundated with commissions. Kobke is recognized today as one of the most talented among Denmark??s Golden Age painters and the most internationally renowned Danish painter of his generation. The painterly interpretations he made of his surroundings stand as highpoints of the period. His works are in the collections of not only Danish museums but also such international museums as the J. Paul Getty Museum
Arkady Alexandrovich Rylov
Arkady Alexandrovich Rylov (Russian, 29 January [O.S. 17 January] 1870 - June 22, 1939) was a Russian and Soviet Symbolist painter. Biography Rylov was born in the village Istobenskoye, Vyatka gubernia. He was brought in the family of his stepfather, a notary (Rylov's father had a psychiatric illness). He moved to Saint Petersburg and studied at the Technical Design School of Baron Schtiglitz (1888-1891), then at the Imperial Academy of Arts under Arkhip Kuindzhi (1894-1897). In the Blue Expanse, 1918Rylov was a member of the Mir iskusstva movement and its spin-off Union of Russian Artists also a member of the Association of Artists of the Revolutionary Russia. He was a chairman of the Kuindzhi Society.