1861-1890 Dennis Miller Bunker Gallery The paintings of Bunker's early maturity in New York (ca. 1880-82) were often marine subjects, featuring a series of beached boats, painted on Long Island. In these he followed the standard academic practice of first painting loose, preparatory sketches (Beached, ca. 1881-2) prior to more conventionally finished exhibition pieces. The early portraits (Portrait of Walter Griffin, 1881, Portland Museum of Art) also evidence rigorous craftsmanship. While studying in Paris, Bunker's summer excursions to the countryside resulted in another series, this time of scenes of Larmor, a town in Brittany. The focus of these compositions, be it church spire (Brittany Town Morning, Larmor, 1884, Terra Foundation for American Art), cemetery cross, or a lone tree (Tree, 1884-5, private collection), was invariably that of a richly painted, dark graphic shape against a bright sky. Nevertheless, the pictures are characterized by soft atmospheric effects and tonal subtlety. No less subtle are the landscapes Bunker painted after returning to America; paintings done in South Woodstock, Connecticut (Pines Beyond the Fence, 1886, private collection) still favor dramatic value contrasts, with subjects carefully painted against a light sky, but the palette has grown lighter, the color more saturated. By 1887 Bunker completed his Portrait of Anne Page, a painting requiring much labor, but one of his most poignant works. In its restrained use of color, delicate modeling of form, and aesthetic elegance it is reminiscent of the works of Thayer and James McNeill Whistler. There soon followed the Boston commissions, portraits mostly of male sitters--still somber in tone, they are painted in a more confident manner, suggesting the influence of Sargent (Portrait of George Augustus Gardner, 1888, Museum of Fine Arts, Boston). Portrait Sketch of Eleanor Hardy Bunker, 1890. Private collection.That Bunker spent the summer of 1888 painting with Sargent is verified by personal correspondence, as well as through several pieces by the latter artist (Dennis Miller Bunker Painting at Calcot, 1888, Terra Foundation for American Art), but no paintings of the English sojourn by Bunker have survived; possibly he destroyed them in dissatisfaction. However, once back in Boston the experience came to fruition, for over the next two years Bunker produced a series of canvases which evidenced that he was one of the first American artists to fully understand and successfully practice impressionism. In the Greenhouse, ca. 1888, Chrysanthemums, 1888 (Isabella Stewart Gardner Museum), The Pool, Medfield, 1889 (Museum of Fine Arts, Boston), and Meadow Lands, 1890 (Museum of Fine Arts, Boston) all feature a rich palette, vertiginous compositions, and his unique "fish hook" shaped brush strokes. At the same time, Bunker's last figure pieces remained faithful to his academic training. Jessica, 1890 (Museum of Fine Arts, Boston), The Mirror, 1890 (Terra Foundation for American Art), and Eleanor Hardy Bunker, 1890 (Metropolitan Museum of Art) are characterized by a restricted color range and heightened elegance.  Related Paintings of Dennis Miller Bunker :. | Man of Sorrows with Mary and John and Two Holy Women | Jessica | The Pool,Medfield (nn020 | The Pool | Seascape, boats, ships and warships. 09 |
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thorvald niss
Født i Assens 07.05.1842, død Frederiksberg 11.05.1905, maler Det Kgl. Danske Kunstakademi 1861-1869, afbrudt af frivillig deltagelse i krigen 1864. Otto Baches atelier i 1870'erne
DALMAU, Lluis
Spanish Early Renaissance Painter, active 1428-1461
Carl Spitzweg
German Painter, 1808-1885 German painter. He trained (1825-8), at his father's insistence, as a pharmacist, by 1829 becoming manager of a pharmacy in the Straubing district of Munich. From 1830 to 1832 he made advanced studies in pharmacy, botany and chemistry at the University of Munich, passing his final examination with distinction. On receiving a large legacy in 1833, which made him financially independent, he decided to become a painter. He had drawn since the age of 15 and had frequented artistic circles since the late 1820s; but he had no professional training as a painter. He learnt much from contacts with young Munich landscape painters such as Eduard Schleich the elder and produced his first oil paintings in 1834. In 1835 he became a member of the Munich Kunstverein but left two years later due to disappointment over the reception of the first version of the Poor Poet (1837; Munich, Neue Pin.; second version 1839; Berlin, Neue N.G.), a scene of gently humorous pathos that has since become his most celebrated work. Spitzweg's decision to leave the Kunstverein, however, was also encouraged by his first successful attempts to sell his paintings independently. In 1839 he travelled to Dalmatia, where he made sketches that he used for many later works on Turkish themes (e.g. the Turkish Coffee House, c. 1860; Munich, Schack-Gal.). From the 1840s he travelled regularly, usually with his close friend, the painter Schleich, both within Bavaria and to Austria and Switzerland and also to the Adriatic coast, especially to Trieste.