1849-1912 Swedish painter, sculptor and playwright. He had no art training, but learnt from artist friends after abandoning his studies at the University of Uppsala in 1872. The chief influence on him was Per Ekström, whose broken colour-spot technique he attempted to copy during his initial painting period in 1872-4 in Stockholm and on the skerry-islands Kymmendö and Sandhamn. Very little of Strindberg's early painting survives, but he had already found his special motifs: the sea, usually with turbulent waves; solitary trees or flowers on bare cliffs or sandy beaches in the outermost fringe of the skerries. After he stopped painting in 1874 he became Sweden's leading art critic, as well as the ideological leader of the radical Swedish artists' movement, which in 1884 formed the Konstnärsförbund (the Artists' Association) in protest against the Academy of Art. Prominent among the members were the painters Carl Olof Larsson, Karl Nordström and Richard Bergh. During this period, however, he produced sketches in words and pictures as illustrations to his own writings, which Carl Larsson was commissioned to do thereafter. From 1883 he stayed abroad, primarily in France and Switzerland, and belonged during a couple of long periods to the Scandinavian artists' colony in Grez-sur-Loing, near Fontainebleau in France. In 1886 in Switzerland he started photography and took a series of self-portraits that were intended for publication  Related Paintings of August Strindberg :. | Seascape | Wave VII | The Town | Seascape | Coastal Landscape II |
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MEMLING, Hans
Netherlandish Northern Renaissance Painter, ca.1435-1494 South Netherlandish painter of German origin. Together with Dieric Bouts I and Hugo van der Goes, he was one of the most important exponents of the new artistic developments that flourished in the southern Netherlands in the 15th century in the wake of Jan van Eyck, the Master of Fl?malle and Rogier van der Weyden. Their principal innovation was to apply optic realism to devotional or mystical subjects. Although Memling lived in the turbulent period of transition from the Burgundian ruling house to that of the Habsburgs, little of this is evident in his work. His commissions were almost exclusively from rich burghers in Bruges (bankers, merchants and politicians) or churchmen and the occasional aristocrat. Often they were foreigners, especially Italians, who had political or financial connections with the town, whose central economic position was to last only a few decades longer. They had Memling paint their portraits, bust or full length, in devotional paintings or on altarpieces for their chapel in Bruges or back home. He seems not to have received official commissions (from the town council or court). An exceptional proportion of this oeuvre has survived. Besides about 20 altarpieces, often in several panels and of considerable size,
Jones, Francis Coates
American, 1857-1932
Adolfo Muller-Ury
(March 29, 1862 - July 6, 1947) was a Swiss-born American portrait painter and impressionistic painter of roses and still life. He was born Felice Adolfo Meller on March 29, 1862 at Airolo, in the Ticino in Switzerland, into a prominent patrician family whose lineage descended from Alfred the Great, Charlemagne and Doge Pietro Orseolo of Venice, through the von Rechburg family (a lady from which family married a Meller) and by the 18th and 19th centuries included mercenaries, lawyers, hoteliers and businessmen. His father was lawyer Carl Alois Meller (1825 - 1887), Gerichtspräsident (Presiding Judge) of the Cantonal Courts, and his mother Genovefa Lombardi (1836 - 1920), daughter of Felice Lombardi who was Director of the Hospice on the St Gotthard Pass, which he took over from the Capuchin monks who had run this for centuries. Adolfo was their sixth of nineteen children, most of whom survived infancy. The family spoke Airolese mainly, a local dialect of Ticinese Italian, as well as Swiss-German. His family were Roman Catholic.