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 :. | The coronation of Gustaf III, in the collection of the National Museum | Gustav II S Chronic | Lorentz Spengler | Wife Charlotta Pilo,Fodd Desmarees | Portrait of King Frederik V of Denmark, |
Related Artists:
LEDESMA, Blas de
Spanish painter documented 1602-1614 in Granada,Spanish painter. He is known to have worked in Granada from 1602, and in 1614 he designed a stucco vault decoration for the Alhambra. Archival sources testify to his renown as a painter of decorative fresco grotesques (untraced) and still-lifes. His activity as a still-life painter remains debatable, partly because he has been confused with Blas de Prado and also because of Torres Marten's controversial attributions. Ledesma's only unanimously accepted autograph painting is Still-life with Cherries and Flowers (Atlanta, GA, High Mus. A.), signed in Granada. A highly decorative painting, it shows none of the sophistication of still-lifes by Juan Senchez Cot?n, in Granada from 1603. It is painted meticulously and drily. Depicting a severely drawn, rather flat basket on a narrow ledge flanked by flowers behind it, the rigorously symmetrical composition is relieved only by soft lighting and the studied disarray of some fallen cherries. Two other unsigned and poorly preserved still-lifes of analogous subject-matter have been attributed to Ledesma
William Griffith
1866-1940
Pedro Weingartner
(Porto Alegre, 1853 - 1929) was an important Academic painter of Brazil, and the first artist born in Rio Grande do Sul to win international praise for his work. Born to a family of German immigrants, he began his artistic career as an amateur, helped by his brother Inecio, who was a lithographer, and possibly also by painter Delfim da Câmara. Anyway, in 1878 he moved to Germany in order to study in the Grossherrzoglisch Badische Kunstschule, in Karlsruhe. There he became a pupil of Ferdinand Keller, Theodor Poeckh and Ernst Hildebrand. In 1880 Keller moved to Berlin, being followed by Weingärtner, who then enrolled in the local Academy. In 1882 he left Germany for France, studying in the Academie Julian under Tony Robert-Fleury and William Adolphe Bouguereau. Wrecked by financial issues, he thought of abandoning his studies, but such situation was reverted by supportive friends, including Baron of Itajube, who got for him a special scholarship from emperor Peter II upon Bouguereau's advice. Then he could further his education in Rome. Thereafter for many years he divided his time between Rio de Janeiro, Porto Alegre and Rome, traveling very often and being celebrated as one of the most important Brazilian painters of his generation. In Rio Grande do Sul he was a star. In 1920 he was back in Porto Alegre, where the remained until death. His fame declined from 1925 on, facing competition from new painters and changing tastes in local art.