1596-1656 Dutch Jan van Goyen Galleries Dutch landscape painter. He studied at Leiden and Haarlem. In 1631 he settled at The Hague. His typically Dutch landscapes of harbors, canals, riverbanks, and winter scenes with skaters and sleighs are naturalistically painted in a grayish-green tonality. He was one of the first landscape painters to sacrifice minute detail for atmospheric effect and space, and he had a considerable influence on later Dutch landscapists. His paintings are in many collections in Europe and the United States. Famous examples are Panorama of The Hague (The Hague); Banks of a Canal (Louvre); and View of Dordrecht (Rijks Mus.). The Metropolitan Museum has five of van Goyen's works, and the Pennsylvania Academy, two.   Related Paintings of Jan van Goyen :. | A Church and a Farm on the Bank of a River | River Scene with a Fortified Shore | River Landscape | View of Leiden from the Northeast | Face on Rhenen |
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P.C. Skovgaard
(known as P.C. Skovgaard), (4 April 1817 - 13 April 1875), Danish national romantic landscape painter, was born near Ringsted to farmer Tham Masmann Skovgaard and his wife Cathrine Elisabeth. He is one of the main figures associated with the Golden Age of Danish Painting. He is especially known for his large scale portrayals of the Danish landscape. The family had to leave the farm when he was six years old. They moved to Vejby in north Sjælland where his father earned his living as a grocer. Already as a young child he impressed his family with his artistic abilities. His mother, who had studied art under flower painter Claudius Ditlev Fritsch, gave him instructions in drawing until he was confirmed and could be sent to Copenhagen for training at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi).
Nicholas Pocock
British Painter, 1741-1821 English painter. After an apprenticeship in the Bristol shipbuilding yards of Richard Champion, Pocock began a career at sea in the mid-1760s. He was a practised and gifted amateur watercolourist (his earliest signed and dated watercolour is from 1762), and when in command of the Lloyd, one of Champion's merchantmen, he began to keep detailed logbooks illustrated with wash drawings (four at London, N. Mar. Mus.). In 1780 he gave up his sea career, married and sent his first oil painting to the Royal Academy. The picture arrived too late for exhibition, but Sir Joshua Reynolds wrote back, noting 'It is much beyond what I expected from a first essay in oil colours'. Pocock exhibited annually at the Academy between 1782 and 1812 and enjoyed a steady supply of commissions for oil paintings and watercolours, mostly of marine subject-matter. He produced a series of watercolour views of Bristol (stylistically close to Edward Dayes) in the 1780s, many of which were engraved, and of Iceland in 1791.
Barthelemy Menn
(20 May 1815 - 10 October 1893) was a Swiss painter and draughtsman who introduced the principles of plein-air painting and the paysage intime into Swiss art. Menn was born in Geneva as the youngest son of four to Not (Rhaeto-Romance language form for Louis) Menn, a confectioner from Scuol in the canton of Grisons, and Charlotte-Madeleine-Marguerite Bodmer, the daughter of a wealthy farmer from Coinsins in the Canton de Vaud. Already at the age of twelve, Menn took drawing lessons from the little known Jean Duboi (1789-1849), and later, he entered the drawing school of the Geneva Arts Society. The repeated claim that he was also a pupil of the famous enameller Abraham Constantin (1785-1855) appears to be erroneous. In 1831, Menn was second in the annual drawing competition of the Geneva Art Society. The following year, he entered the studio of the Swiss history painter Jean-Leonard Lugardon (1801-1884), who was a pupil of Baron Gros(1771-1835) and acquainted with Jean-Auguste-Dominique Ingres (1780-1867). There, Menn was educated in figure drawing and composition before heading for Paris, where, in fall 1833, he entered the studio of Ingres. He was, therefore, no beginner when meeting the master, but needed some polishing and refinement in his art. In a letter to his friend Jules Hebert, Menn reported on the new situation: eEverybody, even the eldest in the studio tremble before Mr. Ingres. One fears him a lot in such a way that his corrections have a great impact. He is of an extreme sensibility,e while the education in Ingrese studio has been described by Theophile Silvestre, as follows: 'The students spend half of their time studying nature and half studying the masters among which they are especially attached to Phidias, the bas-reliefs of the Parthenon, classical sculpture in general.e This explains why among Menn's early works there are many copies after the Parthenon frieze that was accessible in Paris in a set of plaster casts at the Ecole des Beaux-Arts since 1816. (Fig. 2). Menn also copied several works by Raffael, Titian (Fig. 3), Veronese and Rubens in the Louvre, and works by Ingres. When the latter decided to give up his studio to take the post as director of the French Academy in the Villa Medici in Rome, Menn returned to his grandparents in Coinsins before following his master in fall 1834. His journey led him first via Milan to Venice, where he met briefly his compatriot Louis-Leopold Robert (1798-1835), and where he would copy works by Titian and Tintoretto. He then travelled via Padua and Bologna to Florence, where he met old classmates from Ingrese studio, and arrived finally in Rome in spring 1835. There, Menn copied works by Raphael and Michelangelo, but he also started to produce extraordinary fresh small landscape paintings in the open air. In summer 1836, he visited the Campagna, Capri and Naples, where too he drew and painted landscapes directly from nature, and copied classical antiquities from Pompeii as well as Giovanni Bellini's Transfiguration in the Museo Borbonico. When back in Rome, he produced history - and genre paintings, of which in 1837, he sent 'Solomon presented to Wisdom by his Parents' (Salomon presente e la sagesse par son pere et sa mere; Fig.N) to the annual Salon in Geneva. Menn returned via Florence, Siena and Viterbo to Paris in late 1838, where he exhibited at the Salon from 1839 to 1843, and where he became the drawing master of Maurice Dudevant, the son of George Sand. In her circle, he became acquainted with Eugene Delacroix (1798-1863) who wanted to employ him as an assistant while working on the decoration of the cupola of the library in the Palais du Luxembourg. At the same time, Menn got to know the painters of the Barbizon School, and especially Charles Daubigny (1817-1878). Most importantly, however, Menn became friends with Camille Corot (1796-1875), who, from 1842 onwards, visited Switzerland frequently. It was also in Paris that he became acquainted with members of the Genevan Bovy family who followed the utopian socialist ideas of Charles Fourier.