Related Paintings of skagen museum :. | Portrait of Don Manuel Romero de Terreros y | Forest Landscape | fra den brondumske spisesal | Portrait of a young girl as Diana | WLA brooklynmuseum Pierre Van Cortlandt ca |
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Philip Charles Hardwick
English architect , (1822-1892), was a notable English architect of the 19th century who was once described as "a careful and industrious student of mediaeval art". He was born in Westminster and was the son of the architect Philip Hardwick (1792-1870), grandson of Thomas Hardwick (junior) (1752-1825) and great grandson of Thomas Hardwick Senior (1725-1825); the Hardwicks' architectural work spanned over 100 years, making them one of the most successful architectural families in British history. Hardwick's mother was also from an eminent architectural family: the Shaws. His maternal grandfather was John Shaw Senior (1776-1832) and his uncle was John Shaw Jr (1803-1870) - both architects known for their work at Christ's Hospital and at Ramsgate harbour. Philip Charles trained under his father and also in Edward Blore's office during which time he visited Belgium and Germany. Hardwick exhibited regularly at the Royal Academy between 1848 and 1854. Like his father, Philip Charles was employed in the 'Square Mile' of the City of London, where he became the leading architect of grandiose banking offices, mainly in an Italianate manner, setting the pattern for suburban and provincial designs for almost three decades. He designed five City banks, including Drummond's in Trafalgar Square (1879-81), and was architect to the Bank of England from 1855 to 1883. However, he was more employed outside London, designing branch offices at Hull (1856) and Leeds (1862-65). His best known work was the Great Hall of London's Euston railway station (opened on 27 May 1849). The Great Hall was demolished in 1962 to make way for construction of the current Euston Station building. Philip Charles was the last Hardwick Surveyor to St Bartholomew's Hospital in London and was a major benefactor of the hospital.
Alfred Eduard Chalon
British , (1780-1860)
Carlo Saraceni
1580-1620 Italian Carlo Saraceni Galleries Carlo Saraceni (Venice 1579-Venice, 16 June 1620) was an Italian early-Baroque painter, whose reputation as a "first-class painter of the second rank" was improved with the publication of a modern monograph in 1968. Though he was born in Venice, his paintings are distinctly Roman in style; he moved to Rome in 1598, joining the Accademia di San Luca in 1607. He never visited France, though he spoke fluent French and had French followers and a French wardrobe. His painting, however, was influenced at first by the densely forested, luxuriantly enveloping landscape settings for human figures of Adam Elsheimer, a German painter resident in Rome; "there are few landscapes by Saraceni which have not been attributed to Elsheimer," Malcolm Waddingham observed, and Anna Ottani Cavina has suggested the influences may have travelled both ways. and Elsheimer's small cabinet paintings on copper offered a format that Saraceni employed in six landscape panels illustrating The Flight of Icarus; in Moses and the Daughters of Jethro and Mars and Venus. Saint Sebastian Castle Museum, PragueWhen Caravaggio's notorious Death of the Virgin was rejected in 1606 as an altarpiece suitable for a chapel of Santa Maria della Scala, it was Saraceni who provided the acceptable substitute, which remains in situ, the only securely dated painting of his first decade in Rome. He was influenced by Caravaggio's dramatic lighting, monumental figures, naturalistic detail, and momentary action (illustration, right), so that he is numbered among the first of the "tenebrists" or "Caravaggisti". Examples of this style can be seen in the candlelit Judith and the Head of Holofernes. Saraceni's matured rapidly between 1606 and 1610, and the next decade gave way to his fully mature works, synthesizing Caravaggio and the Venetians. In 1616?C17 he collaborated on the frescoes for the Sala Regia of the Palazzo del Quirinale. In 1618 he received payment for two paintings in the church of Santa Maria dell'Anima. The compositional details of his fresco of The Birth of the Virgin in the Chapel of the Annunciation of the church of Santa Maria in Aquiro are repeated in a panel on copper at the Louvre In 1620 he returned to Venice, where he died in the same year. He was so influential on the style of an anonymous still life painter working in Rome, that the man is known as "Pensionante del Saraceni"