1792 - 1871 English painter and printmaker. He was the son of Charles Hayter (1761-1835), miniature painter, author of manuals for art instruction and Professor of Perspective and Drawing to Princess Charlotte. In 1808 George entered the Royal Academy Schools, and in 1815 was appointed Painter of Miniatures and Portraits by Princess Charlotte. Hayter was awarded the British Institution's premium for history painting for the Prophet Ezra (1815; Downton Castle, Heref. & Worcs), purchased by Richard Payne Knight. Encouraged by his patron, John Russell, 6th Duke of Bedford, he travelled to Italy to study in 1816, gaining election as an honorary member of the Accademia di S Luca in Florence. Returning to London in 1818, Hayter practised as a portrait painter in oils and history painter and occasionally acted as an art dealer. Dubbed 'The Phoenix' by William Beckford, Hayter showed a pomposity that irritated his fellow artists, but he mixed freely with many aristocratic families.   Related Paintings of George Hayter :. | Portrait of Caroline Amelia Elizabeth of Brunswick | Trial of William Lord Russell in 1683, | Anne Elphinstone 1835 | Portrait of a boy | The Angels Ministering to Christ, painted in 1849 |
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Frederick Edwin Church
1826-1900 Frederick Edwin Church Galleries Frederic Edwin Church (May 4, 1826 ?C April 7, 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters. While committed to the natural sciences, he was "always concerned with including a spiritual dimension in his works". The family wealth came from Church's father, Joseph Church, a silversmith and watchmaker in Hartford, Connecticut.(Joseph subsequently also became an official and a director of The Aetna Life Insurance Company) Joseph, in turn, was the son of Samuel Church, who founded the first paper mill in Lee, Massachusetts in the Berkshires, and this allowed him(Frederic) to pursue his interest in art from a very early age. At eighteen years of age, Church became the pupil of Thomas Cole in Catskill, New York after Daniel Wadsworth, a family neighbor and founder of the Wadsworth Atheneum, introduced the two. In May 1848, Church was elected as the youngest Associate of the National Academy of Design and was promoted to Academician the following year. Soon after, he sold his first major work to Hartford's Wadsworth Atheneum. Church settled in New York where he taught his first pupil, William James Stillman. From the spring to autumn each year Church would travel, often by foot, sketching. He returned each winter to paint and to sell his work. Between 1853 and 1857, Church traveled in South America, financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian explorer Alexander von Humboldt's Cosmos and his exploration of the continent; Humboldt had challenged artists to portray the "physiognomy" of the Andes.
Frater Francke
1380-1430 internatinal Gothic German
John William Inchbold
1830-1888 English painter. He spent his early years in Leeds, where his father was a newspaper proprietor, but came to London around 1846 to study lithography in the firm of Day & Haghe. His obituary in The Athenaeum records that he went on to study at the Royal Academy Schools, but his name does not appear in the registers. He exhibited watercolours at the Society of British Artists in 1849 and 1850 and at the Royal Academy in 1851. At this period his work has a fluidity and a freedom of handling that is closer to Richard Parkes Bonington than to the prevailing style of Victorian watercolours. Around 1852 he came under the influence of the Pre-Raphaelite movement and radically altered his style. His oil painting of the Chapel, Bolton (exh. RA 1853; Northampton, Cent. Mus. & A.G.) is a meticulously rendered view of the abbey ruins in the Pre-Raphaelite manner. This was followed the next year by At Bolton (Leeds, C.A.G.), another view of Bolton Abbey, this time with a deer prominent in the foreground. Both paintings illustrate lines from William Wordsworth's poem 'The White Doe of Ryleston'. Wordsworth was also the inspiration for the small painting Study in March