1893-1946   Related Paintings of Eric Hallstrom :. | pa on | torsgatan i sno | liten marta | nyarsafton pa skansen | hotellrummet |
Related Artists:
Lemmen, Georges
Belgian Art Nouveau Painter, 1865-1916 Belgian painter and decorative artist. He showed a precocious talent, first exhibiting in 1875. His only formal study was at a local school of drawing. Between 1884 and 1886 he showed at the Essor group in Brussels paintings that were based on Derer and Holbein and closely related to those of Lemmen's contemporary, Khnopff. When Lemmen became a member of Les XX in 1888 his style developed quickly, influenced principally by French Neo-Impressionism and the English Arts and Crafts Movement. Lemmen adopted the pointillist technique following Seurat's first showing with Les XX in 1887. His best pointillist canvases include The Carousel (1890-91; Toulon, Mme Thevenin-Lemmen priv. col., see Belgian Art, 1880-1914, exh. cat., New York, Brooklyn
Eduard Magnus
(January 7, 1799 - August 8, 1872) was a German painter. Magnus was born in Berlin, and studied simultaneously at the Berlin Academy of Art, Bauakademie, and University of Berlin. He later traveled to Paris and Italy, returning to Germany in 1829. He went to Italy again in 1831, and traveled through Paris and England before returning again in 1835. In 1837 he became a member of the Academy of Art, and in 1844 a professor. From 1850 to 1853 he traveled to France and Spain. He died in 1872 in Berlin. He was for a time the preeminent portrait painter in Berlin. Eduard Magnus was the elder brother of the physicist and chemist Heinrich Gustav Magnus.
Suzanne Valadon
French Post-Impressionist Painter, 1865-1938 French painter and artist's model. She led a lonely childhood in Paris as the daughter of an unmarried and unaffectionate maid, seeking refuge from her bleak circumstances by living in a dream world. While residing in the Montmartre district of Paris, she became an artist's model, working in particular with those painters who frequented the Lapin Agile. From 1880 to 1887, for example, she sat regularly for Pierre Puvis de Chavannes, posing for both the male and female figures in the Sacred Wood (1884-6; Lyon, Mus. B.-A.). She also modelled for Renoir, Luigi Zandomeneghi, Th?ophile Steinlein, Jean-Louis Forain, Giuseppe De Nittis and Jean-Jacques Henner. No longer able to tolerate the passive role of the model,