German 1805-1873 Franz Xaver Winterhalter Galleries German painter and lithographer. He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Scheler (1785-1852) in Freiburg im Breisgau and went to Munich in 1823, sponsored by the industrialist Baron Eichtal. In 1825 he began a course of study at the Akademie and was granted a stipend by Ludwig I, Grand Duke of Baden. The theoretical approach to art of the Akademie under the direction of Peter Cornelius was unfamiliar to him, as in Freiburg he had been required to paint in a popular style. He found the stimulus for his future development in the studio of Joseph Stieler, a portrait painter who was much in demand and who derived inspiration from French painting. Winterhalter became his collaborator in 1825. From Stieler he learnt to make the heads of figures emerge from shadow and to use light in the modelling of faces. He moved to Karlsruhe in 1830 with his brother Hermann Winterhalter (1808-92), who had also trained with Scheler and had followed him to Munich.  Related Paintings of Franz Xaver Winterhalter :. | The Empress Eugenie Holding Louis Napoleon, the Prince Imperial on her Knees | Madame Barbe de Rimsky-Korsakov | Florinda | Italienerin mit Kind | Portrait of the Queen Marie Amelie of France |
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alexej von jawlenskij
Alexej Georgewitsch von Jawlensky (13 March 1864 ?C 15 March 1941) was a Russian expressionist painter active in Germany. He was a key member of the New Munich Artist's Association (Neue Kunstlervereinigung M??nchen), Der Blaue Reiter (The Blue Rider) group and later the Die Blaue Vier (The Blue Four). Alexej von Jawlensky was born in Torzhok, a town in Tver Governorate, Russia, as the fifth child of Georgi von Jawlensky and his wife Alexandra (n??e Medwedewa). At the age of ten he moved with his family to Moscow. After a few years of military training, he became interested in painting, visiting the Moscow World Exposition circa 1880. In 1896 he moved to Munich, where he studied in the private school of Anton Ažbe. In Munich he met Wassily Kandinsky and various other Russian artists, and he contributed to the formation of the Neue K??nstlervereinigung M??nchen. His work in this period was lush and richly coloured, but later moved towards abstraction and a simplified, formulaic style. Alexej von Jawlensky. Abstract Head, c. 1928Von Jawlensky died in Wiesbaden, Germany on 15 March 1941. He and his wife Helene are buried in the cemetery of St. Elizabeth's Church, Wiesbaden.
Carl jun. Oesterley
(January 23, 1839 - December 16, 1930) was a German landscape painter who was a native of Göttingen. He was the son of painter Carl Friedrich Wilhelm Oesterley (1805-1891). He attended classes at the Polytechnikum in Hannover and, beginning 1857, at the Kunstakademie (Art Academy) in Dusseldorf where he studied religious painting under Ernst Deger. During a visit to Lebeck in 1865, where he copied Hans Memling's Passion, he made some attempts at architectural and landscape painting. These turned out so well that from then on he dedicated himself to landscape painting. Beginning in 1870 he focused his artistic efforts mainly on Norwegian landscapes, for which he devoted several study trips. He lived in Hamburg and received a first-class medal from the Menchener Ausstellung.
Antoon Claeissens
(his name is given in many varieties, with his first name rendered as Anton, Anthonie, Anthony, Anthuenis, and his surname as Claes, Claesz, Claeis, Claeiss, Claessens and Claeissins), the son of Pieter Claes the elder, painted historical and allegorical subjects, and portraits. He was a native of Bruges, and there entered the Guild of St. Luke in 1575, and became its dean in 1586, 1590, and 1601. He died in 1613. His works, several of which are in the Hôtel-de-Ville and churches of Bruges, are distinguished by their fine colouring and finish. In the H6tel-de-Ville is a 'Grand Banquet' with many portraits of magistrates of the time, dated 1574. His son, Pieter Anthonie, was dean of the Guild of St. Luke at Bruges in 1607, and died in 1608.