Swedish Painter, 1711-1793,Swedish painter. His father, Olof Pijhlou (1668-1753), was an artist. Pilo may have travelled to Vienna and Germany, and it is probable that he studied at the Drawing Academy established in Stockholm in 1735. From 1737 he was engaged as a portrait painter by members of the southern Swedish aristocracy (e.g. Baron Malte Ramel; evedskloster, priv. col.). About 1740 he settled in Copenhagen, where he swiftly rose to a position of importance: following the enthusiastic reception of his portrait of Louise of England, the wife of the future Frederick V (Copenhagen, Stat. Mus. Kst, on loan to Amalienborg Castle), he was appointed court painter in 1745 and drawing-master to Crown Prince Christian (later Christian VII) in 1759. Pilo was appointed professor at the Royal Academy of Art in Copenhagen in 1748 and for the next two decades was recognized as the foremost portrait painter in Denmark.   Related Paintings of Carl Gustaf Pilo :. | Wife Charlotta Pilo,Fodd Desmarees | Queen of Denmark | Portrait of King Frederik V of Denmark | Adam Gottlob Moltke | Lorentz Spengler |
Related Artists:
Sir Edwin Landseer
1803-1874 British Sir Edwin Landseer Galleries Landseer was something of a child prodigy whose artistic talents were recognized early on; he studied under several artists, including his father John Landseer, an engraver, and Benjamin Robert Haydon, the well-known and controversial history painter who encouraged the young Landseer to perform dissections in order to fully understand animal musculature and skeletal structure. At the age of just 13, in 1815, Landseer exhibited works at the Royal Academy. He was elected an Associate of the Royal Academy at the age of 24, and an Academician of the Royal Academy five years later in 1831. He was knighted in 1850, and although elected President of the Royal Academy in 1866 he declined the invitation. Landseer was a notable figure in 19th century British art, and his works can be found in Tate Britain, the Victoria and Albert Museum, Kenwood House and the Wallace Collection in London. He also collaborated with fellow painter Frederick Richard Lee. Windsor Castle in Modern Times (1841-1845) Queen Victoria and her family at Windsor Castle.Landseer's popularity in Victorian Britain was considerable. He was widely regarded as one of the foremost animal painters of his time, and reproductions of his works were commonly found in middle-class homes. Yet his appeal crossed class boundaries, for Landseer was quite popular with the British aristocracy as well, including Queen Victoria, who commissioned numerous portraits of her family (and pets) from the artist. Landseer was particularly associated with Scotland and the Scottish Highlands, which provided the subjects (both human and animal) for many of his important paintings, including his early successes The Hunting of Chevy Chase (1825-1826) and An Illicit Whiskey Still in the Highlands (1826-1829), and his more mature achievements such as the majestic stag study Monarch of the Glen (1851) and Rent Day in the Wilderness (1855-1868). Saved (1856) Landseer's paintings of dogs were highly popular among all classes of society.So popular and influential were Landseer's paintings of dogs in the service of humanity that the name Landseer came to be the official name for the variety of Newfoundland dog that, rather than being black or mostly black, features a mix of both black and white; it was this variety Landseer popularized in his paintings celebrating Newfoundlands as water rescue dogs, most notably Off to the Rescue (1827), A Distinguished Member of the Humane Society (1838), and Saved (1856), which combines Victorian constructions of childhood with the appealing idea of noble animals devoted to humankind ?? a devotion indicated, in Saved, by the fact the dog has rescued the child without any apparent human direction or intervention. In his late 30s Landseer suffered what is now believed to be a substantial nervous breakdown, and for the rest of his life was troubled by recurring bouts of melancholy, hypchondria, and depression, often aggravated by alcohol and drug use (Ormond, Monarch 125). In the last few years of his life Landseer's mental stability was problematic, and at the request of his family he was declared insane in July 1872. Landseer's death on 1 October 1873 was widely marked in England: shops and houses lowered their blinds, flags flew at half-staff, his bronze lions at the base of Nelson's column were hung with wreaths, and large crowds lined the streets to watch his funeral cortege pass (Ormond, Monarch 135). Landseer was buried in St Paul's Cathedral, London .
CAMASSEI, Andrea
Italian painter, Roman school (b. 1602, Bevagna, d. 1649, Roma) Andrea Camassei (1602-1649) was an Italian painter of the Baroque, who was mainly active in Rome under the patronage of the Barberini. He was born in Bevagna. He was active in painting in the Palazzo Barberini as well as in Antonio Barberini's favored church, Santa Maria della Concezione, where he painted the Assumption of the Virgin on the dome. His training was under Domenichino, but he also labored under the direction of Sacchi and Pietro da Cortona. He painted a Triumph of Constantine for the Baptistery of the Lateran Palace. He painted for the Taddeo Barberini, two large canvases (1638-39) depicting Massacre of the Niobids and Hunt of Diana. He also painted a Saints Bonaventura, Bernardino & Ludovico da Tolosa for Santa Caterina in Rapecchiano (Spello).
Baur,Johann Wilhelm
vers 1600-1640