Dutch Baroque Era Painter, ca.1600-1670. Dutch painter. He is best known for his atmospheric, almost monochromatic, river scenes, painted in the 1630s during the 'tonal phase' of Dutch art. His work in this genre is very close in style to that of Jan van Goyen, and their paintings have often been confused.  Related Paintings of RUYSDAEL, Salomon van :. | View of Deventer Seen from the North-West af | View of Egmond aan Zee f | Tavern with May Tree (detail) af | Seascape af | Landscape (detail) f |
Related Artists:
Robert Koehler
American Painter, 1850-1917 was a German born painter and art teacher who spent most of his career in the United States of America. Koehler was born in Hamburg; his family spelled their name Köhler until they moved to Milwaukee, Wisconsin in Robert's childhood. There he attended the historic German-English Academy. Koehler studied art from Henry Vianden and apprentice himself to a lithography firm. After some time working as a lithographer in New York City, Koehler went to Munich to study fine art at the Royal Academy in 1873. Koehler's work while in Munich won him silver and bronze awards from the Academy, and Bavaria's Cross of the Order of St. Michael. Koehler then set himself up as head of a private art school; pupils included Alfons Mucha. In 1892 Robert Koehler returned to New York City to work as a portrait artist. The following year he moved to Minneapolis, Minnesota, accepting an offer to be the director of the Minneapolis School of Fine Arts (now the Minneapolis College of Art and Design) Koehler was also involved with the establishment of Minneapolis' Museum of Fine Art, now the Minneapolis Institute of Arts.
Joseph Delattre
painted Le Port de Rouen in 19th century
Pagani, Gregorio
Italian, 1558-1605 Italian painter. He trained in the studio of the Late Mannerist Maso da San Friano, but then studied with the more progressive Santi di Tito. There he became friends with Ludovico Cigoli: the two artists, who desired to renew the art of painting, studied from nature and developed an interest in Venetian and Emilian art. Pagani was deeply influenced by Correggio. His earliest surviving works include the frescoes of the Confirmation of the Rule of St Dominic (c. 1580; Florence, S Maria Novella, Chiostro Grande) and the Meeting between SS Dominic and Francis (Florence, Convento dei Cappuccini di Monturghi). In 1592 he painted the Virgin and Saints (St Petersburg, Hermitage), a work that already reveals his interest in Correggio. In the same year he painted a Finding of the True Cross (untraced), a daring composition that is preserved in preparatory drawings. A number of works from the 1590s survive and show Pagani's interest in Emilian art; the Crucifixion and Saints (1595; Florence, S Bartolomeo in Pozzo) and the Virgin and Child with SS Michael the Archangel and Benedict (1595; Florence, S Michele Arcangelo Le Ville). At the turn of the century Pagani was increasingly associated with those Florentine artists who wished to develop a new narrative clarity and directness. His pictures (e.g. Pyramus and Thisbe; Florence, Uffizi) show figures carefully posed with varied expressions and gestures. In the early 17th century Pagani became yet more attracted by naturalism, as in the St Lawrence (1600) in the basilica of the Madonna delle Grazie at San Giovanni, Valdarno. Through his friendship with Bartolomeo Carducho he was influenced by Spanish art, as is evident in the Adoration of the Magi