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 :. | On the Farm | dramat | Rococo Model Charcoal | min hustru | flicka vid gardesgarden |
Related Artists:Barend Cornelis Koekkoek
Barend Cornelis Koekkoek Gallery
Koekkoek??s own paintings reveal a careful study and synthesis of Dutch seventeenth century painters. His art is firmly rooted in the great Dutch romantic tradition established by the seventeenth-century masters: Hobbema, Cuyp, Ruisdael and Wynants. The golden light and the inclusion of travellers in his work suggests Koekkoek also admired the Dutch Italianate painters of the seventeenth century, collectively known as the Bamboccianti, especially Pieter van Laer and Jan Both.
Koekkoek imagined his pictures as the result of an ideal combination of observation and artifice. He studied art and nature with equal acuity, creating beautiful landscape paintings that celebrated the greatness of Creation. ??Koekkoek's work impresses the spectator by its power, by the firm and correct construction of the trees, by the broad, natural growth of the leaves and boughs, [and] by the careful and elaborate reproduction of the wooded landscape?? (G. H. Marius, Dutch Painters of the Nineteenth Century, Woodbridge, 1973, p. 89). Up to this day, Willem Koekkoek's work is very much favoured for the lively composition and the mood of nostalgia, in which the Dutch Golden Age seems to linger on. Just as he was during his own lifetime, Koekkoek is widely regarded as the most accomplished landscape painter of Dutch romanticism, against whose scrupulously refined paintings the work his contemporaries is measured.
dioscoro teofilo de la puebla tolin
dioscoro teofilo de la puebla tolin(1831 to1901),who studied in madrid and rome,worked in the tradition fo historicism,asubgenre of history painting,which focused on the interplay of religious pride,patriotism ,and sntions of glory.tolin s technical style is referred to as eclecticism for its wide ranging,and often superficial ,borrowing from euopean techniques and visual trends. paintings in this genre were often funded by official organizations and art academies,which treated them as opportuities for propagandistic interpretations of history.the first landing of christopher columbus in america provides on shortage of dramaAntoine Rivalz
(1667, Toulouse - 1735) was a French painter. The son of Jean-Pierre Rivalz (who painted and designed the city's hôtel de ville), Antoine was the official painter to the town of Toulouse, a talented portraitist of the society of the city in the 18th century. He also produced a large number of drawings.
Antoine Rivalz began his training in the studios of his father Jean-Pierre, the sculptor Marc Arcis and the artist Raymond Lafage. In his training, he was particularly interested in studying classical works and the Baroque Italian masters. From 1685 to 1687 he trained at the Academie royale de peinture et de sculpture in Paris. On his return to Toulouse he received his first two commissions. In 1687 he set out for Rome, where he stayed for more than ten years. In 1694 he won second prize at the Accademia di San Luca with a drawing of The fall of the giants, with first prize going to Antonio Balestra and Felice Nardi. In Rome he became friends with other artists such as Carlo Maratta, Luigi Garzi and Benedetto Luti, and was more and more in demand for commissions from families in both Rome and Toulouse.
In 1703, he returned to Toulouse and was made painter of the city's hôtel de ville, a post he held until his death. Supported by an important studio, he received a large number of commissions - commemorative paintings, paintings of ordinance and armour, architectural projects, restorations. This post, however, allowed him above all to forge productive relations with the city's upper classes and benefit from a near-monopoly on public, religious and private commissions in the city.
He married his first cousin Louise Rivalz, with whom he had six children, including the future artist Pierre Rivalz, known as the "chevalier Rivalz". In 1726 he set up Toulouse's first art school and in 1750 letters patent from Louis XV turned it into the Academie royale de peinture et de sculpture de Toulouse, the only one in France (after that in Paris) to be allowed to bear that title.