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
sturt och hans foljeslagare under kartmatning vid farden till det inre av australien 1844-45.
new21/william r clark-227637.jpg
ID: 59318

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william r clark sturt och hans foljeslagare under kartmatning vid farden till det inre av australien 1844-45.


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william r clark

1829-1912  Related Paintings of william r clark :. | detta | brittiska valfangare i arbete pa gronland omkring 1720 | den sita anteckningen iscotts dagbok ett markligt exempel pa mod infor en saker och ensam dod. | brittiskt trupplager vid himalayas fot omkring 1840 | ross och andra sydpolsforskare pa 1800 talet utnyttijade fulviken pa den ensliga on kerguelen, ca 2000 km norr am antarktis. |
Related Artists:
Abraham Govaerts
Abraham Govaerts (Antwerp, 1589 - 9 September 1626) was a Flemish Baroque painter who specialized in small cabinet-sized forest landscapes in the manner of Jan Brueghel the Elder and Gillis van Coninxloo.[1] He became a master in Antwerp's guild of St. Luke in 1607-1608, and subsequently trained several other painters in including Alexander Keirincx. Govaerts' paintings, such as A Forest View with the Sacrifice of Isaac (Alte Pinakothek, Munich), typically show diminutive history, mythological or biblical subjects within a Mannerist three-color universal landscape bracketed by repoussoir trees. The figures were often added by other artists, especially by members of the Francken family.
Osman Hamdy Bey
Turkey, born 1842 - died 1910
Joachim Beuckelaer
1535-1574 Flemish Joachim Beuckelaer Galleries b Antwerp, c. 1534; dAntwerp, c. 1574). Flemish painter. He came from an Antwerp family of obscure painters and seems to have spent his entire life there. He trained in the studio of Pieter Aertsen, who in 1542 had married Beuckelaers aunt; he became an independent master and also married in 1560. His earliest known work dates from that year, and his development can be followed closely to 1570. The example of Beuckelaers master remained decisive throughout his career. Not only did he take over Aertsens new repertory of secular subjects, he also completely adopted his stylistic idiom and manner of painting, so that it can be difficult to distinguish the two hands. Beuckelaer was, however, by no means a slavish imitator, and as regards execution he fully bears comparison with Aertsen.






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