English Painter, 1819-1909 His parents were in domestic employment before taking a hotel in Harrogate in 1826. They encouraged him to become an artist, despite his own desire to be an auctioneer. While at school in Dover, Frith sketched caricatures and copies of Dutch genre scenes (Dover Mus.) that betray his disposition to narratives. His taste did not accord with the academic training he received at Henry Sass's Academy in London (1835-7) and at the Royal Academy Schools (1837). Frith began his career as a portrait painter, using members of his family as models. He first exhibited at the British Institution in 1838, and during the 1840s he established himself with his entertaining historical and literary subjects in the popular tradition of C. R. Leslie, William Mulready and Sir David Wilkie. He was a member of THE CLIQUE, which included Richard Dadd, Augustus Egg, Henry O'Neil and John Phillip.   Related Paintings of William Powell Frith :. | The Derby Day | The Private View of the Royal Academy | The Sleeping Model | Oil painting by English Victorian painter William Powell Frith | A dream of the future |
Related Artists:
Ignaz Gaugengigl
United States (1855- 1932 ) - Painter
ZIMMERMANN Dominikus
German sculptor, Bavarian school (b. 1685, Wessobrunn, d. 1766, Wies) German sculptor, Bavarian school (b. 1685, Wessobrunn, d. 1766, Wies)Architect, stuccoist and painter, brother of Johann Baptist Zimmermann. For the first two decades of his creative life, from about 1705, he worked mainly as a builder of altars and as a marbler. His most important commission came from the Benedictine abbey of Fischingen (Thurgau), for which he made six artificial marble altars with scagliola inlays (1708-9). Similar altars, mainly in Swabia, are attributed to him or known to be his work; their construction shows the influence of Johann Jakob Herkommer, with whose work Dominikus became familiar while living in Fessen (1708-16). Between 1709 and 1713 he worked with Johann Baptist Zimmermann at the Buxheim Charterhouse, producing artificial marble altars and stuccowork that is characterized by the botanical accuracy of the plant motifs.
Jan Preisler
Czechoslovakian, 1872-1918 Bohemian painter. He studied at the School of Applied Arts in Prague (1887-95). In 1906 he visited Belgium, the Netherlands and Paris. He taught at the Academy of Arts in Prague from 1913. He was a pioneer in modern Bohemian art, and his work developed from pure Art Nouveau and Symbolism towards Expressionism, in three phases. The period 1887-1900 is represented by the triptych Spring (1900; Prague, Trade Fair Pal.): with its lack of scales of tonal value or Impressionist instantaneousness, it is a skilful use of colour and composition. The figure of the boy with autobiographical features is symbolic of a whole generation. The period 1901-7 culminated in Painting from a Bigger Cycle (1901-2; Prague, Trade Fair Pal.), which balances vertical and horizontal lines and employs bright colour combinations. In Black Lake (1904; Prague, Trade Fair Pal.), which deals with the misery and excitement of first love, the contrast of black and white and the figure of the boy with a horse and a girl evoke the transitive moment between reality and dream. Spring (1906; Prague, Trade Fair Pal.), a testament to Preisler admiration for the work of Gauguin, develops the resonant contrast of green, yellow and white. In 1908-18 Preisler returned to monumental decoration: of the Palacky Room in the Municipal House in Prague, 1910-12, in the style of Puvis de Chavannes. At this time he was approaching the Expressionism of the younger generation from the Eight (ii), especially in the three versions of the painting Good Samaritan (1910-13; all priv. col., see Kotalok, pl. 41), which shows the influence of Daumier and Munch.