Irish 1878-1931 Sir William Orpen Location Irish painter. He attended the Metropolitan School of Art, Dublin (1891-7), and the Slade School of Art, London (1897-9), there winning the composition prize of 1899 with The Play Scene from Hamlet (Houghton Hall, Norfolk). He became a friend of Augustus John and joined the New English Art Club. From very early years he had been an impassioned student of the Old Masters, and he went to Paris with John in 1899 to see Leonardo da Vinci Mona Lisa (Paris, Louvre). In the following years his perception of their works   Related Paintings of Sir William Orpen :. | Leading the Life in the West | A Breezy Day,Howth | Dieppe | The Three musketeers | Marshal Foch,OM |
Related Artists:
GRECO, El
Greek-born Spanish Mannerist Painter, 1541-1614 Greek painter, designer and engraver, active in Italy and Spain. One of the most original and interesting painters of 16th-century Europe, he transformed the Byzantine style of his early paintings into another, wholly Western manner. He was active in his native Crete, in Venice and Rome, and, during the second half of his life, in Toledo. He was renowned in his lifetime for his originality and extravagance and provides one of the most curious examples of the oscillations of taste in the evaluation of a painter,
Johann Michael Rottmayr
Austrian,1654-1730 Austrian painter and draughtsman. He is most notable for large-scale religious and secular decorative schemes, and his career heralded the important 18th-century German contribution to late Baroque and Rococo fresco painting. He was probably taught by his mother, who was a painter of wooden sculpture. Between 1675 and 1687-8 he was in Venice as a pupil and assistant of the Munich artist Johann Carl Loth, whose studio attracted many painters from Austria and southern Germany. It is possible that Rottmayr also visited other Italian cities, in particular Bologna and Rome. He returned to Salzburg in the late 1680s a mature painter and immediately received commissions for panels and frescoes. In 1689 he painted mythological scenes for the Karabinierisaal at the Residenz in Salzburg (in situ); in composition and style these are close to high Baroque models, particularly the work of Pietro da Cortona and Peter Paul Rubens. Such models, as well as the example of Loth, and Venetian painting, had an important influence on Rottmayr's panel paintings of this period, for example the Sacrifice of Iphigenia (c. 1691; Vienna, Belvedere) or St Agnes (1693-5) and St Sebastian (1694; both Passau, Cathedral). In these, the solidity of the figures is emphasized through the use of intense colours. For Rottmayr, however, the rational development of the figures and the composition was less important than the overall effect achieved by the use of colour. Incorrect details of anatomy and perspective found compensation in greater expressiveness, mainly conveyed by gesture and pose. Rottmayr's images are filled with plastic elements, creating a staccato effect. Several very important early commissions paved the way for Rottmayr's move to Vienna in the late 1690s.
Per Wilhelm Cedergren
painted Winter picture from Dalaro Skans in 1856