1822-1902  Related Paintings of Bengt Nordenberg :. | sondagsmorgon i blekinge | Selfportrait in the Pulpit of Virestad Church | Before the Wedding | tiondemote i skane | Tiondemote i skane |
Related Artists:
Gregorio Lopes
Gregorio Lopes (c. 1490 - 1550) was one of the most important Renaissance painters from Portugal. Gregorio Lopes was educated in the workshop of Jorge Afonso, the court painter of King Manuel I. Later he himself became court painter for both Manuel I and for his successor, John III. In 1514 he married the daughter of Jorge Afonso, and in 1520 was knighted by Prince Jorge de Lencastre and entered the Order of Santiago. The work of Gregorio Lopes mainly consists of painted religious altarpieces for various churches and monasteries in central Portugal. Between 1520 and 1525 he worked (together with Jorge Leal) in painting altarpieces for the Saint Francis Convent of Lisbon. Also in the 1520s he painted panels for the Church of Paraeso (Paradise), also in Lisbon. In his first fase, Gregorio Lopes also worked in Sesimbra, Setebal and in the Monastery of Ferreirim, in this latter case together with Cristevao de Figueiredo and Garcia Fernandes. The painter moved in the 1530s to the city of Tomar, where he painted various panels for the Round Church of the Convent of Christ (1536 - 1539) and the main altarpiece of the Church of Saint John the Baptist (1538 - 1539). His last known works include altarpieces for the Convent of Santos-o-Novo in Lisbon (1540) and the Valverde Convent, near Évora (1545).
Stephen Wilson Van Schaick
American, 1848 - 1920
Wouter Johannes van Troostwijk
1782-1810 Dutch Wouter Johannes van Troostwijk Gallery Dutch painter, draughtsman and etcher. In 1803 he was admitted to the Amsterdam Tekenacademie where he was a pupil of the director, Jurriaan Andriessen. Despite a highly successful student career that culminated in a gold medal from the Felix Meritis Society in 1807, he was unable to establish himself as a professional artist during the remainder of his very short working life in Amsterdam. Andriessen's studies from nature seem to have been an important influence; van Troostwijk was one of the earliest artists to paint en plein air. Although he looked back to 17th-century Dutch landscape art and to the work of his contemporaries, in such paintings as Landscape in Gelderland (c. 1808; Amsterdam, Rijksmus.; see NETHERLANDS, THE, fig. 21) he achieved a totally new lyricism in the rendering of atmospheric effects. The Raampoortje (1809; Amsterdam, Rijksmus.) displays a fresh colouristic touch rare in Dutch painting of this period. His Self-portrait (c. 1810; Amsterdam, Rijksmus.) is equally original in composition and colour. He also produced animal paintings in the manner of Paulus Potter, drawings and a few etchings towards the end of his life. Van Troostwijk died before his considerable talents could be recognized, and, although he has come to be seen as an important precursor of much late 19th-century Dutch painting, he had little influence on his immediate successors.