Swedish Realist Painter, 1853-1919 Swedish painter, illustrator and printmaker. He came from a poor family and studied (1866-76) at the Konstakademi in Stockholm, supporting himself throughout this period. From 1871 to 1878 he contributed illustrations to the comic journal Kaspar and the Ny illustrerad tidning. From 1875, for several decades, he was a prolific book illustrator, his most renowned work in this field being his drawings for Föltskärns beröttelser ('The Barber-surgeon's tales'; pubd 1883-4) by Zacharius Topelius, and the Rococo-inspired watercolours for the Samlade skaldeförsök ('Collected attempts at poetry'; pubd 1884) by the 18th-century Swedish author Anna Maria Lenngren.  Related Paintings of Carl Larsson :. | Homework | clair-obscur | gunlog saj, a du radd for mej | Tuixt Christmas and New Years | laxlasning |
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Luigi Premazzi
(Milan, 1814 - Istanbul, Turkey, 1891) was an Italian painter. Premazzi attended the Brera Academy of Fine Arts and then the private school run by Giovanni Migliara. His early watercolours, based on the works of his master, were produced for the lithographic industry. His oeuvre is characterised by a repertoire of urban views produced in accordance with the dictates of perspective painting. While most of these are set in Milan, other Italian cities were also featured in later years. His smooth, precise painting also shows the influence of his contemporary Luigi Bisi in its descriptive focus on architectural detail. He presented work regularly at the exhibitions of the Societe Promotrice di Belle Arti in Turin from 1842 to 1848 as well as those of the Brera Academy. Having moved to Saint Petersburg around 1850, he became a teacher at the Imperial School of Fine Arts there in 1861. Frequent stays in the Caucasus and the Middle East provided new subjects for his paintings, which he continued to send to Italian exhibitions, where they aroused wonder and curiosity.
Albert Baertsoen
Belgian, 1866-1922.Belgian painter and etcher. The son of a successful mill-owner and an excellent musician, he was a pupil and friend of Gustave Den Duyts (1850-97), and later, at the Ghent Acad?mie, of Jean Delvin (1853-1922). He was involved in the exhibiting society LEssor in Brussels as well as the triennial salons held in Brussels, Antwerp and Ghent in rotation. Among his earliest important works are The Scheldt at Dendermonde (1887; Ghent, Mus. S. Kst.), which he painted beside Isidore Meyers (1836-1917) and Franz Courtens in a Realist style characteristic of the Dendermonde school. In 1889-90 he attended the studio of Alfred Roll in Paris, where he met Jacques-Emile Blanche and Charles Cottet, and became particularly closely associated with Frits Thaulow, Emile-Ren? M?nard and Edmond Aman-Jean. He exhibited regularly at the Salon in Paris. Although Baertsoen is considered to be one of the first Belgian Impressionists, he belonged to no particular school. He was more than a descriptive landscape painter, for he sought to evoke through the depiction of the natural world a mood of melancholy and resignation. He painted silent streets, rocks, rivers and canals in Bruges, Li?ge, Nieuwpoort, Diksmuide and in London, where he stayed during World War I. His most important paintings, however, were inspired by his native town, Ghent, of which he built up a remarkable portrait over the years in such works as Barges in the Snow (1901) and Ghent in the Evening (1903; both Brussels, Mus. A. Mod.). A broad, spontaneous technique, great delicacy of nuance, deep sincerity as well as a certain meditative quality characterize his work, which is limited in quantity. Baertsoen played an important role in Belgian cultural life of his period and was elected to the Acad?mie Royale des Beaux-Arts in 1919.
Francois Clouet
1510-1572 French Francois Clouet Locations The earliest reference to him is a document dated December 1541 (see Jean Clouet), in which the king renounces for the benefit of François his father estate, which had escheated to the crown as the estate of a foreigner. In this document, the younger Clouet is said to have followed his father very closely in his art. Like his father, he held the office of groom of the chamber and painter in ordinary to the king, and so far as salary is concerned, he started where his father left off. Many drawings are attributed to this artist, often without perfect certainty. There is, however, more to go upon than there is in the case of his father. As the praises of Francois Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would guarantee the ascriptions usually accepted. To him are attributed the portraits of Francis I at the Uffizi and at the Louvre, and various drawings relating to them. He probably also painted the portrait of Catherine de Medici at Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. One of his most remarkable portraits is that of Mary, queen of Scots, a drawing in chalks in the Bibliotheque Nationale, and of similar character are the two portraits of Charles IX and the one at Chantilly of Marguerite of France. Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre. This piece made an important impression on Claude Levi-Strauss. In particular it helped inspire his theory of the mod??le reduit, or of works of art as simplifications and scale models of the realities they represent, and other theories of artworks, in his book The Savage Mind. Clouet resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hotel de Guise, and in 1568 is known to have been under the patronage of Claude Gouffier de Boisy, Seigneur d Oiron, and his wife Claude de Baune. Another ascertained fact concerning Francois Clouet is that in 1571 he was summoned to the office of the Court of the Mint, and his opinion was taken on the likeness to the king of a portrait struck by the mint. He prepared the death-mask of Henry II, as in 1547 he had taken a similar mask of the face and hands of Francis I., in order that the effigy to be used at the funeral might be prepared from his drawings; and on each of these occasions he executed the painting to be used in the decorations of the church and the banners for the great ceremony. Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II in the collection of J. Pierpont Morgan. Another of his portraits is that of Francois, duc d Alençon in the Jones collection at South Kensington, and certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him. He died on the 22nd of December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of property, is still in existence. His daughters subsequently became nuns. His work is remarkable for the extreme accuracy of the drawing, the elaborate finish of all the details, and the exquisite completeness of the whole portrait. He must have been a man of high intelligence, and of great penetration, intensely interested in his work, and with considerable ability to represent the character of his sitter in his portraits. His coloring is perhaps not specially remarkable, nor from the point of style can his pictures be considered especially beautiful, but in perfection of drawing he has hardly any equal.