Austrian Northern Renaissance Painter, ca.1430-1498  Related Paintings of PACHER, Michael :. | Christ in Limbo | Altarpiece of the Church Fathers | Flagellation agy | The Engagement of Virgin zg | Christ in Li |
Related Artists:
Johann Christian Reinhart
German , 1761-1847 He revealed an interest in art while still at school and, though he began to study theology in Leipzig in 1778, he soon transferred to the private art academy of Adam Friedrich Oeser (1717-99). Here he made copies of the work of his teacher and drew after plaster casts of antique statues. The Liber Veritatis, a collection of 200 drawings by Claude Lorrain, was also used as a model and had an important influence on him. In 1783 he went to Dresden where he was especially attracted to the Dutch landscape paintings in the Gem?ldegalerie. In 1785 Reinhart returned to Leipzig where he made the acquaintance of the German poet Friedrich Schiller, with whom he had a lifelong friendship, and to whom he later dedicated an etching of a heroic landscape (1800). From 1786 to 1789, while resident at the court of the Duke of Sachsen-Meiningen, he explored the Thuringian countryside on foot, making sketches as he went.
Samuel Prout
English Painter, 1783-1852 was an English water-colour painter. He was born at Plymouth, and spent whole summer days, in company with Benjamin Haydon, drawing the quiet cottages, rustic bridges and romantic watermills of the beautiful valleys of Devon. He made a journey through Cornwall to try his hand in furnishing sketches for Britton's Beauties of England. In 1803 he moved to London, where he stayed until 1812. In London, Prout saw new possibilities, and endeavoured to correct and improve his style by studying the works of the rising school of landscape. To earn a living, he painted marine pieces for Palser the printseller, took students, and published drawing books for learners. He was one of the first to use lithography in his artwork. It was not however until about 1818 that Prout discovered his niche. Happening time to make his first visit to the Continent, and to study the quaint streets and market-places of continental cities, he suddenly found himself in a new and enchanting province of art. His eye caught the picturesque features of the architecture, and his hand recorded them with skill. The composition of his drawings was exquisitely natural; their colour exhibited "the truest and happiest association in sun and shade"; the picturesque remnants of ancient architecture were rendered with the happiest breadth and largeness, with the heartiest perception and enjoyment of their time-worn ruggedness
David Allan
13 February 1744 C 6 August 1796) was a Scottish painter, best known for historical subjects. He was born at Alloa in central Scotland. On leaving Foulis's academy of painting at Glasgow (1762), after seven years' successful study, he obtained the patronage of Lord Cathcart and of Erskine of Mar, on whose estate he had been born. Erskine made it possible for him to travel to Rome (1764), where he remained for several years engaged principally in copying the old masters. Among the original works which he then painted was the "Origin of Portraiture", now in the National Gallery at Edinburgh--representing a Corinthian maid drawing her lover's shadow--well known through Domenico Cunego's excellent engraving. This won him the gold medal given by the Academy of St Luke in the year 1773 for the best specimen of historical composition.