Carl Larsson
A Sweden Museum


Carl Larsson's Oil Paintings
Carl Larsson Museum
May 28, 1853–January 22, 1919. Swedish painter.
Carl Larsson

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110,680 paintings total

  

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william r clark
ar 1802 tecknade den engelsks sjomannen matthew flinders denna lummiga och rofyllda scen fran kanguruon soder omadelaide vilken stari stark kontrast t
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ID: 59307

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william r clark ar 1802 tecknade den engelsks sjomannen matthew flinders denna lummiga och rofyllda scen fran kanguruon soder omadelaide vilken stari stark kontrast t


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william r clark

1829-1912  Related Paintings of william r clark :. | barth kallade staden kano for central afrikas stora knutpunkt | hundsladarna ar ett snabbt och e ffektivt transportmedel over isvidderna | ovan livingstones resor var fyllda olyckstill bud | ovan | en kopmanskaravan kommer till en liten oas,dar de kan fa farskt vatten och nagra timmars vila |
Related Artists:
Palmezzano, Marco
Italian, Approx. 1459-1539 .Italian painter. His earliest work was probably on the fresco decoration (c. 1480-84) of the vault of the sacristy of the treasury in the Santa Casa, Loreto, designed by Melozzo da Forl?. He then probably went to Rome, where he may have painted the fresco in the apse of Santa Croce in Gerusalemme (Longhi). In 1493 Palmezzano is documented working with Melozzo on the fresco decoration in the Feo Chapel,
Michael Ancher
Danish Painter, 1849-1927 He studied at the Kongelige Akademi for de Sk?nne Kunster, Copenhagen (1871-5), where his teachers Wilhelm Marstrand and Frederik Vermehren encouraged his interest in genre painting. He first visited Skagen in 1874 and settled there in 1880, having found that subject-matter drawn from local scenery was conducive to his artistic temperament. In Will he Manage to Weather the Point? (1880; Copenhagen, Kon. Saml.) several fishermen stand on the shore, evidently watching a boat come in. The firmly handled composition focuses on the group of men (the boat itself is invisible); each figure is an individual portrait that captures a response to the moment. Ancher's skill at grouping large numbers of figures with heroic monumentality compensates for his lacklustre colour sense. A change in his use of colour is noticeable in the works produced after an influential visit to Vienna in 1882; he was deeply impressed by the Dutch Old Masters at the Kunsthistorisches Museum, especially the Vermeers. Their effect on his painting can be seen in the Sick Girl (1883),
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