Swedish 1860-1920 Swedish painter, etcher and sculptor. He was brought up by his grandparents at Mora. As he displayed a precocious talent for drawing he was admitted to the preparatory class of the Kungliga Akademi for de Fria Konsterna, Stockholm, at the age of 15. Dissatisfied with the outdated teaching and discipline of the Academy and encouraged by his early success as a painter of watercolour portraits and genre scenes (e.g. Old Woman from Mora, 1879; Mora, Zornmus.) Zorn left the Academy in 1881 to try to establish an international career. He later resided mainly in London but also travelled extensively in Italy, France, Spain, Algeria and the Balkans and visited Constantinople. However, he continued to spend most of his summers in Sweden.  Related Paintings of Anders Zorn :. | En hornlat | sommaragton | Unknow work 113 | Eldsken | finmekanikern |
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Anton Romako
(October 20, 1832 - March 8, 1889) was an Austrian painter. Anton Romako was born in Atzgersdorf (now a district of Liesing, Vienna), as an illegitimate son of factory owner Josef Lepper and his housemaid Elisabeth Maria Anna Romako. He studied painting at the Academy of Fine Arts Vienna (1847-49) but his teacher, Ferdinand Georg Waldmeller, considered him talentless. Later, he studied in Munich (1849) under Wilhelm Kaulbach, and subsequently in Venice, Rome and London. In the early 1850s he studied privately in Vienna under Carl Rahl, whose style Romako adopted. In 1854 he began travels to Italy and Spain and in 1857 settled in Rome as the favourite portrait, genre, and landscape painter for the local colony of foreigners. In 1862 Romako married Sophie Köbel, the daughter of architect Karl Köbel, and the pair had five children before Sophie left Romako in 1875 for her lover. In 1876 Romako returned to Vienna but failed to re-establish himself against the style representend by Hans Makart and increasingly relied on the charity of such wealthy patrons as Count Kuefstein. He made study trips to Hungary, Italy and France, and during the years 1882-84 he alternated between Paris and Geneva. Two daughters, Mathilde and Mary, committed suicide in 1887; Romako had never recovered from the shock. His last years were spent living in neglect near Vienna, where he died in poverty in 1889. Romako was buried at the Central cemetery in Vienna. In 1953 a street in Atzgersdorf was named after the painter: Romakogasse. Anton Romako's painting "The battle of Lissa" was selected as a motive for a recent commemorative coin: the 20 euro S.M.S. Erzherzog Ferdinand Max minted on September 15, 2004. His brother, Joseph von Romako, was a Naval Architect-Inspector of Austro-Hungarian Navy.
Juan de Valdes Leal
Seville 1622-1690 was a Spanish painter of the Baroque era. He was born at Seville in 1622, and distinguished himself as a painter, sculptor, and architect. He worked for a time under Antonio del Castillo. Among his works are a History of the Prophet Elias for the church of the Carmelites; a Martyrdom of St. Andrew for the church of San Francesco at Cerdoba; and a Triumph of the Cross for la Caridad at Seville. He was one of the founders of the Seville Academy along with his friend, Bartolome Esteban Murillo. He died at Seville. His wife (daughter of Antonio Palomino), Isabella Carasquilla, was also a painter. She died at Seville as late as 1730. Their children were artists, including Lucas, Juan, Maria, and Laura de Valdes. His daughters specialized in portrait miniatures.
Gabriel Jacques de Saint-Aubin
French Painter, 1724-1780,Draughtsman, etcher and painter, brother of (1) Charles-Germain de Saint-Aubin. He studied with the painters Etienne Jeaurat and Hyacinthe Colin de Vermont, but failed three times to win the Prix de Rome (competition paintings, 1752-4; Paris, Louvre). He broke with the Academie Royale, preferring to support and exhibit at the Academie de St Luc. Although he continued to paint such pictures as a Street Show in Paris (c. 1760; London, N.G.; other examples in Rouen, Mus. B.-A.), he is best known as a draughtsman and etcher. He was a passionate and unconventional observer of the sights of the Paris streets and of the social scene. Dacier saw him as the 'man who drew at all times and in all places', and his contemporary Jean-Baptiste Greuze spoke of his 'priapism of draughtsmanship'. In his many drawings he combined pencil, black and red chalk, bistre, ink and watercolour to create dazzling spontaneous effects. He drew incidents that struck him as he wandered the streets, or entertainments that he attended. He recorded them, noting dates and times, in sketchbooks (e.g. Paris, Louvre and Stockholm, Nmus.) or sometimes in the margins and blank pages of printed books that he was carrying (such as a volume of the poems of Jean-Michel Sedaine, in the Mus. Cond?, Chantilly). These drawings of contemporary incidents include the Fire at the Foire Saint-Germain on the Night of 16-17 May 1762 (ex-David Weill priv. col.) and the Crowning of Voltaire at the Theetre-Franeais in 1778 (Paris, Louvre; see fig.). He went regularly to the Salon of the Academie Royale and to art sales, covering the margins and flyleaves of his sale catalogues and Salon livrets with tiny sketches of works of art and the passing scene. One hundred of these illustrated catalogues were among his effects when he died, and of these about a third survive. These include the livrets for the Salons of 1761, 1769 and 1777 (all Paris, Bib. N.), as well as the catalogues of the sales of Louis-Michel van Loo in 1772 and Charles Natoire in 1778 (both Paris, Bib. N.), and that of Pierre-Jean Mariette in 1775 (Boston, MA, Mus. F.A.). Together with his etchings and large watercolours (e.g. Paris, Louvre) of the Louvre's Salon Carre at the time of the exhibitions of 1753, 1767 and 1769,