German Romantic Painter, 1777-1810 ..German painter, draughtsman and theorist. He stands alongside Caspar David Friedrich as a leading figure in German Romantic painting even though his early death restricted his oeuvre to relatively few stages of development. The enduring prominence of philosophical and theoretical concerns suggests that further work would have contributed to the history of ideas as well as to that of art. Runge's greatest influence was on later, largely 20th-century artists and thinkers rather than on his immediate contemporaries. While 19th-century developments certainly bore out Runge's claim for a new, symbolic role for landscape,  Related Paintings of Philipp Otto Runge :. | Morning | Ossian (mk10) | Morning (mk10) | The Hulsenbeck Children (mk09) | Times of Day: Evening |
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w. von schadow
Friedrich Wilhelm Schadow (7 September 1789 - 19 March 1862) was a German Romantic painter. He was born in Berlin and was the second son of the sculptor Johann Gottfried Schadow. In 1806-1807 Friedrich served as a soldier. In 1810 he traveled with his elder brother Rudolph to Rome where he became one of the leaders among painters of the Nazarene movement. Following the example of Johann Friedrich Overbeck and others, he joined the Roman Catholic Church, and held that an artist must believe and live out the truths he essays to paint. The sequel showed that Schadow was qualified to shine more as a teacher and mentor than as a painter. As an author, he is best known for his lecture, Ueber den Einfluss des Christentums auf die bildende Kunst (About The Influence of Christianity On The Visual Arts) (Dusseldorf, 1843), and the biographical sketches, Der moderne Vasari (Berlin, 1854). In Rome, Schadow was given one of his first major commissions when the Prussian Consul-General, General Jakob Salomon Bartholdy, befriended the young painter, and asked him and three young compatriots (Cornelius, Overbeck and Veit) to decorate in fresco a room in his house on the Pincian Hill. The overall theme selected was the story of Joseph and his brethren, and two scenes, the Bloody Coat and Joseph in Prison, were conferred on Schadow. In 1819, Schadow was appointed professor in the prestigious Berlin Academy of the Arts, and his ability and thorough training gained many devoted disciples. It was during this period that Schadow developed his paintings for churches. In 1826, Professor Schadow was made director of the Dusseldorf Academy of the Arts, which he reoriented towards the production of Christian art, though he began a major dispute with one of its professors, Heinrich Christoph Kolbe, ending in the latter leaving the Academy in 1832. In 1837, Schadow selected, at request, those of his students best qualified to decorate the chapel of St Apollinaris on the Rhine with frescoes. When finished, they were acclaimed as the fullest and purest manifestation of the spiritual side of the D??sseldorf school. One of his famous students, Heinrich Mucke, carried on the liturgical art with emphasis both in painting and frescoes. The painting of the Wise and Foolish Virgins. considered one of his masterworks, was commissioned in 1842. Now in the Städel Museum, this large and important picture, while carefully considered and rendered, it however lacks power of some of his other works. Schadow's fame rests less on his own artistic creations than on the school he formed. In D??sseldorf a reaction set in against the spiritual and sacerdotal style he had established and, in 1859, the party of naturalism, after a severe struggle, drove Director Schadow from his chair. Friedrich Wilhelm Schadow died at Dusseldorf in 1862, and a monument was erected in the square which bears his name at a jubilee held to commemorate his directorate. The D??sseldorf School that Schadow directed became internationally renowned, attracting such American painters as George Caleb Bingham, Eastman Johnson, Worthington Whittredge, Richard Caton Woodville, William Stanley Haseltine, James M. Hart, and William Morris Hunt and producing the German emigre Emmanuel Leutze.
Niccolo Bambini
(1651-1736) was an Italian painter of the late-Renaissance and early-Baroque periods. He was born in Venice, and first studied under Giulio Mazzoni at Venice; but afterwards went to Rome, where he became a pupil of Carlo Maratti. He painted for the church of San Stefano soon after his return from Rome. He died in Venice. He had two sons who were painters, Giovanni and Stefano.
LEDESMA, Blas de
Spanish painter documented 1602-1614 in Granada,Spanish painter. He is known to have worked in Granada from 1602, and in 1614 he designed a stucco vault decoration for the Alhambra. Archival sources testify to his renown as a painter of decorative fresco grotesques (untraced) and still-lifes. His activity as a still-life painter remains debatable, partly because he has been confused with Blas de Prado and also because of Torres Marten's controversial attributions. Ledesma's only unanimously accepted autograph painting is Still-life with Cherries and Flowers (Atlanta, GA, High Mus. A.), signed in Granada. A highly decorative painting, it shows none of the sophistication of still-lifes by Juan Senchez Cot?n, in Granada from 1603. It is painted meticulously and drily. Depicting a severely drawn, rather flat basket on a narrow ledge flanked by flowers behind it, the rigorously symmetrical composition is relieved only by soft lighting and the studied disarray of some fallen cherries. Two other unsigned and poorly preserved still-lifes of analogous subject-matter have been attributed to Ledesma