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 :. | Lucia Morning | For Karin-s Name-Day | self-portrait in the Studio | ateljen, andra halften | furstenbergska triptykenr-renassans- |
Related Artists:Barthelemy Menn
(20 May 1815 - 10 October 1893) was a Swiss painter and draughtsman who introduced the principles of plein-air painting and the paysage intime into Swiss art.
Menn was born in Geneva as the youngest son of four to Not (Rhaeto-Romance language form for Louis) Menn, a confectioner from Scuol in the canton of Grisons, and Charlotte-Madeleine-Marguerite Bodmer, the daughter of a wealthy farmer from Coinsins in the Canton de Vaud. Already at the age of twelve, Menn took drawing lessons from the little known Jean Duboi (1789-1849), and later, he entered the drawing school of the Geneva Arts Society. The repeated claim that he was also a pupil of the famous enameller Abraham Constantin (1785-1855) appears to be erroneous. In 1831, Menn was second in the annual drawing competition of the Geneva Art Society. The following year, he entered the studio of the Swiss history painter Jean-Leonard Lugardon (1801-1884), who was a pupil of Baron Gros(1771-1835) and acquainted with Jean-Auguste-Dominique Ingres (1780-1867). There, Menn was educated in figure drawing and composition before heading for Paris, where, in fall 1833, he entered the studio of Ingres. He was, therefore, no beginner when meeting the master, but needed some polishing and refinement in his art. In a letter to his friend Jules Hebert, Menn reported on the new situation: eEverybody, even the eldest in the studio tremble before Mr. Ingres. One fears him a lot in such a way that his corrections have a great impact. He is of an extreme sensibility,e while the education in Ingrese studio has been described by Theophile Silvestre, as follows: 'The students spend half of their time studying nature and half studying the masters among which they are especially attached to Phidias, the bas-reliefs of the Parthenon, classical sculpture in general.e This explains why among Menn's early works there are many copies after the Parthenon frieze that was accessible in Paris in a set of plaster casts at the Ecole des Beaux-Arts since 1816. (Fig. 2). Menn also copied several works by Raffael, Titian (Fig. 3), Veronese and Rubens in the Louvre, and works by Ingres.
When the latter decided to give up his studio to take the post as director of the French Academy in the Villa Medici in Rome, Menn returned to his grandparents in Coinsins before following his master in fall 1834. His journey led him first via Milan to Venice, where he met briefly his compatriot Louis-Leopold Robert (1798-1835), and where he would copy works by Titian and Tintoretto. He then travelled via Padua and Bologna to Florence, where he met old classmates from Ingrese studio, and arrived finally in Rome in spring 1835. There, Menn copied works by Raphael and Michelangelo, but he also started to produce extraordinary fresh small landscape paintings in the open air. In summer 1836, he visited the Campagna, Capri and Naples, where too he drew and painted landscapes directly from nature, and copied classical antiquities from Pompeii as well as Giovanni Bellini's Transfiguration in the Museo Borbonico. When back in Rome, he produced history - and genre paintings, of which in 1837, he sent 'Solomon presented to Wisdom by his Parents' (Salomon presente e la sagesse par son pere et sa mere; Fig.N) to the annual Salon in Geneva. Menn returned via Florence, Siena and Viterbo to Paris in late 1838, where he exhibited at the Salon from 1839 to 1843, and where he became the drawing master of Maurice Dudevant, the son of George Sand. In her circle, he became acquainted with Eugene Delacroix (1798-1863) who wanted to employ him as an assistant while working on the decoration of the cupola of the library in the Palais du Luxembourg. At the same time, Menn got to know the painters of the Barbizon School, and especially Charles Daubigny (1817-1878). Most importantly, however, Menn became friends with Camille Corot (1796-1875), who, from 1842 onwards, visited Switzerland frequently. It was also in Paris that he became acquainted with members of the Genevan Bovy family who followed the utopian socialist ideas of Charles Fourier.
Pietro da Cortona
1596-1669 Italian Pietro da Cortona Galleries Italian painter, draughtsman and architect. He was, together with Gianlorenzo Bernini and Franceso Borromini, one of the three leading artists of the Roman Baroque. As a painter he developed the early Baroque style, initiated by Annibale Carracci, to a magnificent and imposing High Baroque. His fresco decorations set a standard for European Baroque painting until they were eclipsed by Giambattista Tiepolo's works and those of other Venetian masters of the 18th century. As an architect Cortona was far less influential. His imaginative designs for fa?ades and stucco decorations were, however, conclusive and independent solutions to problems central to Roman Baroque architecture.
(also spelled Hieronymus, Heironimos) (died c. 1593) was a Flemish portrait painter active in England in the reign of Elizabeth I.
A native of Antwerp, Custodis was one of many Flemish artists of the Tudor court who had fled to England to avoid the persecution of Protestants in the Spanish Netherlands.He is thought to have arrived in England sometime after the fall of Antwerp to the forces of the Duke of Parma in 1585.
Three English portraits by Custodis signed and dated 1589 firmly establish him as resident in London by that year. Sir Roy Strong attributes a portrait of Sir Henry Bromley dated 1587 to Custodis, suggesting an earlier arrival, and has verified the recent attribution of a portrait of the young Edward Talbot dated 1586 to Custodis.In 1591, he was living in the parish of St Bodolph-without-Aldgate where "Jacobus the son of Ieronyme Custodis A Paynter" was baptised on 2 March. He is assumed to have died in 1593, as all of his known works are dated between 1589 and 1593, and his widow remarried that year.
Custodis's unsigned but dated works are idenitified by "palaeographical peculiarities" in the inscriptions which can be closely matched to those in his signed portraits.