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 :. | naken flicka under prunusbusken | furstenbergska triptyken-nutida konst- | Mama-s and the Little Girl-s Room | lisbeth som den onde prinsessen | pappas rum |
Related Artists:Thomas Nast
September 27, 1840 ?C December 7, 1902,Illustrator Thomas Nast was the first American celebrity cartoonist, famous for helping to turn out New York corrupt politicians and for creating peristent iconographic images of Santa Claus. Nast, from a family of German immigrants, began working in New York City as a cartoonist at the age of 15. He had a long association with Harper Weekly (1861-86), during which his battlefield illustrations and skilled caricatures made him famous in the U.S. and abroad (Van Gogh was a collector). Nast was an opinionated, progressive Republican, and his illustrated attacks on the leader of New York Democrats, William Boss Tweed, are said to have helped bring down an era of government corruption. One of the most influential caricaturists of his time, he is credited with creating the image of Santa as a chubby fellow in a red suit. Nast also came up with the image of an ass to represent Democrats (around 1870) and an elephant to represent Republicans (1874). His popularity waned in the 1880s, and he parted ways with Harper Weekly over political and artistic differences. Failing to succeed with his own publication or as a painter, he managed to be appointed by President Teddy Roosevelt in 1902 to a diplomatic position in Ecuador, where he contracted yellow fever and died. Now officially embraced icons, the animal symbols of the two political parties were meant by Nast to be unflattering. Jan van der Heyden
Jan Van Der Heyden Gallery
Van der Heyden grew up in Gorcum, but the family moved to Amsterdam around 1650. They lived on Dam Square. As a young guy he witnessed the fire in the old townhall which made a deep impression on him. He later would describe or draw 80 fires in almost any neighborhood of Amsterdam. When he married in 1661 the family was living on Herengracht, the most fashionable canal in Amsterdam. In 1668 Cosimo II de' Medici bought one of his paintings, a view of the townhall with a manipulated perspective. Van der Heyden often painted country estates, like Goudestein, owned by Joan Huydecoper II. He was not good in drawing figures and used for his paintings a metal plate for bricks, a sponge or moss for the leaves. Johannes Lingelbach, Adriaen van de Velde und Eglon van der Neer assisted him drawing the figures. Jan van der Heyden also introduced the lamp post and in 1672 impoved the design of the fire engine. He died in wealth as the superintendent of the lighting and director of the (voluntary) firemen's guild at Amsterdam.
Van der Heyden was a contemporary of the landscape painters Hobbema and Jacob van Ruisdael, with the advantage, which they lacked, of a certain professional versatility; for, whilst they painted admirable pictures and starved, he varied the practice of art with the study of mechanics. Until 1672 he painted in partnership with Adriaen van de Velde. After Adrian's death, and probably because of the loss which that event entailed upon him, he accepted the offices to which allusion has just been made. At no period of artistic activity had the system of division of labour been more fully or more constantly applied to art than it was in Holland towards the close of the 17th century.
Van der Heyden, who was perfect as an architectural draughtsman insofar as he painted the outside of buildings and thoroughly mastered linear perspective, seldom turned his hand to the delineation of anything but brick houses and churches in streets and squares, or rows along canals, or "moated granges," common in his native country.
He was a travelled man, had seen The Hague, Ghent and Brussels, and had ascended the Rhine past Xanten to Cologne, where he copied over and over again the tower and crane of the great cathedral. But he cared nothing for hill or vale, or stream or wood. He could reproduce the rows of bricks in a square of Dutch houses sparkling in the sun, or stunted trees and lines of dwellings varied by steeples, all in light or thrown into passing shadow by moving cloud.
He had the art of painting microscopically without loss of breadth or keeping. But he could draw neither man nor beast, nor ships nor carts; and this was his disadvantage. His good genius under these circumstances was Adrian van der Velde, who enlivened his compositions with spirited figures; and the joint labour of both is a delicate, minute, transparent work, radiant with glow and atmosphere.Anthonie van Montfoort
(Montfoort, 1533 or 1534 - Utrecht, 1583) was a Dutch painter
His father was a mayor of Montfoort. He went to learn under Hendrick Sweersz. in Delft and Frans Floris in Antwerp. In 1552 he returned to Montfoort, where he married the daughter of the then mayor.
Blocklandt then settled in Delft, where he produced paintings for the Oude Kerk and the Nieuwe Kerk, later lost to the beeldenstorm. Also he painted a work for the Janskerk (Gouda) called De onthoofding van Saint-Jacob, now in the museum there.
In 1572, Blocklandt made a trip to Italy, after which he settled for good in Utrecht, joining a guild there in 1577. In 1579, he painted his best known work, the triptych The Assumption of Mary that is now in the Basilica of St. Martin in Bingen am Rhein.
According to Carel van Mander, Blocklandt painted biblical scenes, mythological subjects and portraits. He is early-Mannerist in style and he and Joos de Beer (another pupil of Floris) were responsible for the Mannerist style begun by Utrecht artists around 1590. Van Mander wrote that De Beer had many paintings by Blocklandt in his workshop that his pupil Abraham Bloemaert later copied. Few works can definitely be attributed to him. One of these is "Joseph interpreting Pharaoh's dream", now in the Centraal Museum in Utrecht.
He was also the teacher of the Delft portrait painter Michiel Jansz van Mierevelt.