English Pre-Raphaelite Painter, 1849-1917 English painter. His father was a minor English painter working in Rome. Waterhouse entered the Royal Academy Schools in London in 1870. He exhibited at the Society of British Artists from 1872 and at the Royal Academy from 1874. From 1877 to the 1880s he regularly travelled abroad, particularly to Italy. In the early 1870s he had produced a few uncharacteristic Orientalist keepsake paintings, but most of his works in this period are scenes from ancient history or classical genre subjects, similar to the work of Lawrence Alma-Tadema (e.g. Consulting the Oracle, c. 1882; London, Tate). However, Waterhouse consistently painted on a larger scale than Alma-Tadema. His brushwork is bolder, his sunlight casts harsher shadows and his history paintings are more dramatic.  Related Paintings of John William Waterhouse :. | Miss Margaret Henderson (mk41) | A Naiad or Hylas with a Nymph | Gather Ye Rosebuds, or, Ophelia | Gather Ye Rosebuds While Ye May | I am half sick of shadows, |
Related Artists:
Frederick Macmonnies
American Sculpture 1863-1937,American sculptor and painter. During his apprenticeship in New York (1880-84) with Augustus Saint-Gaudens, who discovered and encouraged his talent, he rose from menial helper to assistant, studying in the evenings at Cooper Union and the National Academy of Design. Through Saint-Gaudens he met two architects who later became invaluable colleagues: Stanford White and Charles F. McKim, who lent him money in 1884 to go to Paris. He studied drawing at Colarossi's then went to Munich, attending drawing and portrait classes at the Akademie (1884-5) and worked for Saint-Gaudens again (1885-6). In Paris he studied sculpture with Alexandre Falguiere at the Ecole des Beaux-Arts,
Giovanni Bellini
Italian High Renaissance Painter, ca.1430-1516 (b ?1431-6; d Venice, 29 Nov 1516). Painter and draughtsman, son of (1) Jacopo Bellini. Although the professional needs of his family background may have encouraged him to specialize at an early date in devotional painting, by the 1480s he had become a leading master in all types of painting practised in 15th-century Venice. Later, towards the end of his long life, he added the new genres of mythological painting and secular allegory to his repertory of subject-matter. His increasing dominance of Venetian art led to an enormous expansion of his workshop after c. 1490; and this provided the training-ground not only for his numerous shop-hands and imitators (generically known as Belliniani) but probably also for a number of major Venetian painters of the next generation. Throughout his career, Giovanni showed an extraordinary capacity for absorbing a wide range of artistic influences, both from within Venetian tradition and from outside. He also oversaw a technical revolution in the art of painting, involving the gradual abandonment of the traditional Italian use of egg tempera in favour of the technique of oil painting pioneered in the Netherlands. It was thanks to Giovanni Bellini that the Venetian school of painting was transformed during the later 15th century from one mainly of local significance to one with an international reputation. He thus set the stage for the triumphs of Venetian painting in the 16th century and for the central contribution that Venice was to make to the history of European art.
Gerardus Laurentius Keultjes
painted The assault on Algiers by the allied Anglo-Dutch squadron in 1817