born David Scott Evans (March 28, 1847-July 4, 1898) was an American artist who worked in Indiana, Ohio and New York. He was known for portraits, still lifes, landscapes and other genres. Born in Boston, Indiana to David S. and Nancy A. (Davenport) Evans. His father was a physician. Evans changed his signature to D. Scott Evans and later to De Scott Evans. He also signed paintings with the names David Scott, S. S. David, and Stanley S. David. He attended Miami University's preparatory school in the 1860s, studying with professor Adrian Beaugureau at Miami and later in Cincinnati. Evans married Alice Josephine Burk in 1872. They had two biological daughters, Mabel and Nancy, and an adopted daughter, Laura. In 1873, he became head of the art department at Mount Union College and after several terms there, he moved to Cleveland to teach and to paint. From Cleveland, he moved to New York. He died along with 500 other passengers and crew, including his three daughters when the French steamer La Bourgogne was rammed by a sailing ship in July 1898. His wife was not on board and later remarried. Though he died at sea, there is a cenotaph for Evans and his daughters in the Oxford Cemetery in Oxford, Ohio.   Related Paintings of DeScott Evans :. | Arranging Pink Roses | De Scott Evans: Hanging Apples | The Tack Room | The Tack Room | The Connoisseur |
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George Catlin
1796-1872 George Catlin Galleries Catlin was born in Wilkes-Barre, Pennsylvania. Following a brief career as a lawyer, he produced two major collections of paintings of American Indians and published a series of books chronicling his travels among the native peoples of North, Central and South America. Claiming his interest in America??s 'vanishing race' was sparked by a visiting American Indian delegation in Philadelphia, he set out to record the appearance and customs of America??s native people. Catlin began his journey in 1830 when he accompanied General William Clark on a diplomatic mission up the Mississippi River into Native American territory. St. Louis became Catlin??s base of operations for five trips he took between 1830 and 1836, eventually visiting fifty tribes. Two years later he ascended the Missouri River over 3000 km to Ft Union, where he spent several weeks among indigenous people still relatively untouched by European civilization. He visited eighteen tribes, including the Pawnee, Omaha, and Ponca in the south and the Mandan, Cheyenne, Crow, Assiniboine, and Blackfeet to the north. There, at the edge of the frontier, he produced the most vivid and penetrating portraits of his career. Later trips along the Arkansas, Red and Mississippi rivers as well as visits to Florida and the Great Lakes resulted in over 500 paintings and a substantial collection of artifacts. When Catlin returned east in 1838, he assembled these paintings and numerous artifacts into his Indian Gallery and began delivering public lectures which drew on his personal recollections of life among the American Indians. Catlin traveled with his Indian Gallery to major cities such as Pittsburgh, Cincinnati, and New York. He hung his paintings ??salon style????side by side and one above another??to great effect. Visitors identified each painting by the number on the frame as listed in Catlin??s catalogue. Soon afterwards he began a lifelong effort to sell his collection to the U.S. government. The touring Indian Gallery did not attract the paying public Catlin needed to stay financially sound, and Congress rejected his initial petition to purchase the works, so in 1839 Catlin took his collection across the Atlantic for a tour of European capitals. Catlin the showman and entrepreneur initially attracted crowds to his Indian Gallery in London, Brussels, and Paris. The French critic Charles Baudelaire remarked on Catlin??s paintings, ??M. Catlin has captured the proud, free character and noble expression of these splendid fellows in a masterly way.?? Catlin??s dream was to sell his Indian Gallery to the U.S. government so that his life??s work would be preserved intact. His continued attempts to persuade various officials in Washington, D.C. failed. He was forced to sell the original Indian Gallery, now 607 paintings, due to personal debts in 1852. Industrialist Joseph Harrison took possession of the paintings and artifacts, which he stored in a factory in Philadelphia, as security. Catlin spent the last 20 years of his life trying to re-create his collection. This second collection of paintings is known as the "Cartoon Collection" since the works are based on the outlines he drew of the works from the 1830s. In 1841 Catlin published Manners, Customs, and Condition of the North American Indians, in two volumes, with about 300 engravings. Three years later he published 25 plates, entitled Catlin??s North American Indian Portfolio, and, in 1848, Eight Years?? Travels and Residence in Europe. From 1852 to 1857 he traveled through South and Central America and later returned for further exploration in the Far West. The record of these later years is contained in Last Rambles amongst the Indians of the Rocky Mountains and the Andes (1868) and My Life among the Indians (ed. by N. G. Humphreys, 1909). In 1872, Catlin traveled to Washington, D.C. at the invitation of Joseph Henry, the first secretary of the Smithsonian. Until his death later that year in Jersey City, New Jersey, Catlin worked in a studio in the Smithsonian ??Castle.?? Harrison??s widow donated the original Indian Gallery??more than 500 works??to the Smithsonian in 1879. The nearly complete surviving set of Catlin??s first Indian Gallery painted in the 1830s is now part of the Smithsonian American Art Museum's collection. Some 700 sketches are in the American Museum of Natural History, New York City. The accuracy of some of Catlin's observations has been questioned. He claimed to be the first white man to see the Minnesota pipestone quarries, and pipestone was named catlinite. Catlin exaggerated various features of the site, and his boastful account of his visit aroused his critics, who disputed his claim of being the first white man to investigate the quarry. Previous recorded white visitors include the Groselliers and Radisson, Father Louis Hennepin, Baron LaHonton and others. Lewis and Clark noted the pipestone quarry in their journals in 1805. Fur trader Philander Prescott had written another account of the area in 1831.
WILLEBEECK, Petrus
Flemish painter, Antwerp school (active 1632-1646 in Antwerp)
Augustus Egg
(2 May 1816 - 26 March 1863) was a Victorian artist best known for his modern triptych Past and Present (1858), which depicts the breakup of a middle-class Victorian family. Augustus Egg was born in London on 2 May 1816 to Joseph and Ann Egg, and baptised in St James's Church, Piccadilly on 30 May 1816. He had an elder brother, George Hine Egg. His father Joseph Egg was a wealthy gunsmith from the distinguished gun making family, who immigrated to London from Huningue, Alsace. Egg was educated in the schools of the Royal Academy, beginning in 1836. Egg was a member of The Clique, a group of artists founded by Richard Dadd and others in the late 1830s (c. 1837). Egg sought to combine popularity with moral and social activism, in line with the literary work of his friend Charles Dickens. With Dickens he set up the "Guild of Literature and Art", a philanthropic organisation intended to provide welfare payments to struggling artists and writers. He acted the lead role in a play written by Edward Bulwer-Lytton to raise funds for the organisation. His self-portrait in the role is in Hospitalfield House in Arbroath. Egg's early paintings were generally illustrations of literary subjects. Like other members of The Clique, he saw himself as a follower of Hogarth. His interest in Hogarthian moral themes is evidenced in his paired paintings The Life and Death of Buckingham, depicting the dissolute life and sordid death of the Restoration rake. Yet his paintings often took a humorous look at their subjects, as in his Queen Elizabeth Discovers she is no longer Young (1848). Unlike most other members of The Clique, Egg also admired the Pre-Raphaelites; he bought work from the young William Holman Hunt and shared ideas on color theory with him. His own triptych, known as Past and Present, was influenced by Hunt's work. The triptych depicted three separate scenes, one portraying a prosperous middle-class family and the other two depicting poor and isolated figures e two young girls in a bedsit and a homeless woman with a baby. The viewer was expected to read a series of visual clues that linked together these three scenes, to reveal that the prosperous family in the central scene is in the process of disintegrating because of the mother's adultery. The two outer scenes depict the separated mother and children a few years later, now living in poverty. The painting's use of flashback e the central scene is occurring in the past e has been seen as a precursor of cinema. Egg was also an active organiser of exhibitions, being admired by fellow-artists for his dedication and fair mindedness. He was one of the organisers of the Manchester Art Treasures Exhibition in 1857. He was elected to the Royal Academy in 1860. Always in poor health, Egg spent his later years in the warmer climate of continental Europe, where he painted Travelling Companions, an ambiguous image of two near-identical young women that has sometimes been interpreted as an attempt to represent two sides of the same person. A member of the circle of friends that included Dickens and Wilkie Collins, Egg features in their surviving correspondence. He participated, as actor and costume designer, in their amateur theatricals, which were often conducted for charitable purposes as noted above. In January 1857 he took a part in Collins's play The Frozen Deep, which starred Dickens and was performed at his home, Tavistock House (Egg played John Want, the ship's cook.) The production was also acted before Queen Victoria and then performed for charity. Dickens described Egg as a "dear gentle little fellow," "always sweet-tempered, humorous, conscientious, thoroughly good, and thoroughly beloved." He died in Algiers, Algeria in 1863.