English Pre-Raphaelite Painter, 1828-1882 Rossetti's first major paintings display some of the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary, Virgin and Ecce Ancilla Domini both portray Mary as an emaciated and repressed teenage girl. His incomplete picture Found was his only major modern-life subject. It depicted a prostitute, lifted up from the street by a country-drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci. Although he won support from the John Ruskin, criticism of his clubs caused him to withdraw from public exhibitions and turn to waterhum, which could be sold privately. In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices. Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix. These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst another of his mistresses Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess.  Related Paintings of Dante Gabriel Rossetti :. | How They Met Themselves | The Annunciation | Beata Beatrix | Sir Galahad at the Ruined Chapel (mk28) | How Sir Galahad, Sir Boys and Sir Percival were fed with the Sanc Grael ; But Sir Percival's Sister |
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Robert Koehler
American Painter, 1850-1917 was a German born painter and art teacher who spent most of his career in the United States of America. Koehler was born in Hamburg; his family spelled their name Köhler until they moved to Milwaukee, Wisconsin in Robert's childhood. There he attended the historic German-English Academy. Koehler studied art from Henry Vianden and apprentice himself to a lithography firm. After some time working as a lithographer in New York City, Koehler went to Munich to study fine art at the Royal Academy in 1873. Koehler's work while in Munich won him silver and bronze awards from the Academy, and Bavaria's Cross of the Order of St. Michael. Koehler then set himself up as head of a private art school; pupils included Alfons Mucha. In 1892 Robert Koehler returned to New York City to work as a portrait artist. The following year he moved to Minneapolis, Minnesota, accepting an offer to be the director of the Minneapolis School of Fine Arts (now the Minneapolis College of Art and Design) Koehler was also involved with the establishment of Minneapolis' Museum of Fine Art, now the Minneapolis Institute of Arts.
Hendrick van balen
Dutch Baroque Era Painter, ca.1575-1632 was a Flemish painter, who was born and died in Antwerp. Van Balen studied art while traveling in Italy. He was the teacher of Anthony Van Dyck and Frans Snyders and was also a contemporary of many of the other famous Flemish artists
Ranney William Tylee
German-born American Painter, 1813-1857 American painter. He spent six formative years in the hill country of North Carolina. By 1834 he was working and studying drawing in New York, but two years later he went to Texas to join in the war for independence. Although he returned to New York a year later, it was not until 1846, with the outbreak of the Mexican War, that Ranney began to use his Western experience as the basis for his painting. With the encouragement of the American Art Union, he executed three types of Western subject: the Western trapper or hunter, pursuing a dangerous life on the prairies, as in Trapper's Last Shot (1850; untraced; engraved and lithographed by T. Dwight Booth); the pioneer family, heading across the plains with children, dogs and goods, as in Advice on the Prairie (1853; Malvern, PA, Claude J. Ranney priv. col.); and the dangers of emigration, for example Prairie Fire.