1801-1848 Thomas Cole Galleries Thomas Cole (February 1, 1801 - February 11, 1848) was a 19th century American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism. In New York he sold three paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where he visited the Catskill Mountain House and painted the ruins of Fort Putnam. Returning to New York he displayed three landscapes in the window of a bookstore; according to the New York Evening Post, this garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Among the paintings was a landscape called "View of Fort Ticonderoga from Gelyna". Trumbull was especially impressed with the work of the young artist and sought him out, bought one of his paintings, and put him into contact with a number of his wealthy friends including Robert Gilmor of Baltimore and Daniel Wadsworth of Hartford, who became important patrons of the artist. Cole was primarily a painter of landscapes, but he also painted allegorical works. The most famous of these are the five-part series, The Course of Empire, now in the collection of the New York Historical Society and the four-part The Voyage of Life. There are two versions of the latter, one at the National Gallery in Washington, D.C., the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. Cole spent the years 1829 to 1832 and 1841-1842 abroad, mainly in England and Italy; in Florence he lived with the sculptor Horatio Greenough.  Related Paintings of Thomas Cole :. | The Present | Mount Etna (mk13) | Course of Empire Desolation | Landscape (mk13) | The Pilgrim of the World at the End of His Journey (mk13) |
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James Sharples
(1751 or 1752 in Lancashire - 26 February 1811 in New York ) was an English portrait painter and pastelist, who moved to the United States in 1794. He first exhibited at the Royal Academy in 1779. James was first intended for the Catholic priesthood, but became an artist instead.Sharples headed a family of successful portrait artists, including his third wife Ellen Sharples. He had four children, George by his first wife, Felix Thomas Sharples from his second marriage (c. 1786- after 1823), and James Sharples Jr.(c. 1788-1839) and daughter Rolinda Sharples (1793-1838) with this third wife, Ellen. Felix, James Jr. and Rolinda joined the family enterprise at ages 17, 15, and 13 respectively. Before marrying Ellen Wallace, James had been active in Bristol, Liverpool and Bath, where he taught drawing. Ellen was a lady of French extraction who had relations in America. The family left for the United States in 1796, but, according to Ellen's diaries, their ship fell into the hands of the French, and for seven months the family spent time in Brest, near Cherbourg. Landing in New York, James quickly became popular for his small portraits in pastel and his miniatures. From 1796 to 1801 he worked mainly in Philadelphia and New York, securing portrait commissions. The family traveled throughout New England region as itinerant portrait painters, looking for work and making inexpensive copies from the originals portraits they had made of popular and well-known figures, such as George Washington and James Madison.
Agnes Goodsir
(18 June 1864, Portland, Victoria - 1939, France) was an Australian portrait painter who moved within lesbian circles in Paris in the 1920s and 1930s. Goodsir was one of eleven children born to David James Cook Goodsir, Commissioner of Customs at Melbourne, and Elizabeth Archer. Her early art training started with Arthur T. Woodward at the Bendigo School of Mines in the 1890s, and in 1899 some of her work was raffled in Bendigo to partly finance her study in Paris. The years following World War I saw a virtual exodus of Australian artists on a sort of Grand Tour to Paris, all intent on being part of the explosion of the arts taking place there. Painters like Rupert Bunny, Stella Bowen and Max Meldrum were drawn there by the appeal of the Left Bank. Others like Margaret Preston and Grace Crowley were inspired to develop in new directions by post-war Parisian art. Goodsir attended the Academie Delecluse, the Academie Julian and then the Academie Colarossi. From about 1912 she shuttled between London and Paris, but finally settled in Paris at 18 Rue de l'Odeon. Her constant companion was Rachel Dunn, depicted in several of her paintings, such as The Chinese Skirt 1933, Girl with Cigarette 1925, The Letter 1926 and Morning Tea 1925. Her work was acclaimed and exhibited at the New Salon, the Salon des Independants, and the Societe Nationale des Beaux Arts in Paris as well as at the Royal Academy and the Royal Institute in London. On a short visit to Australia in 1927 she exhibited at the Macquarie Galleries in Sydney and the Fine Arts Gallery in Melbourne. In 1938 four of her oils were shown at the sesquicentennial exhibition at the NSW National Art Gallery. On her death in 1939, her paintings were left to her companion Rachel Dunn, who sent some 40 to Agnes's family in Australia and others to Australian galleries.
Philippe de Champaigne
1602-1674 Philippe de Champaigne Locations His artistic style was varied: far from being limited to the realism traditionally associated with Flemish painters, it developed from late Mannerism to the powerful lyricism of the Baroque. It was influenced as much by Rubens as by Vouet, culminating in an aesthetic vision of the world and of humanity that was based on an analytic view of appearances and on psychological truth. He was perhaps the greatest portrait painter of 17th-century France. At the same time he was one of the principal instigators of the Classical tendency and a founder-member of the Acadmie Royale de Peinture et de Sculpture. His growing commitment to the Jansenist religious movement (see JANSENISM) and the severe plainness of the works that it inspired has led to his being sometimes considered to typify Jansenist thinking, with its iconoclastic impulse, in spite of the opposing evidence of his other paintings. He should be seen as an example of the successful integration of foreign elements into French culture and as the representative of the most intellectual current of French painting.