|
|
|
|
Landscape
1535-1576
Dutch
Cornelis van Dalem Location
Flemish painter. He was the son of a well-to-do cloth merchant living in Antwerp, but of Dutch origin. Cornelis received a humanistic education. His father, who owned land in Tholen, as a vassal to the Counts of Holland and Zeeland, was dean of the chamber of rhetorics De Olijftak (The Olive Branch) in Antwerp in 1552-3. According to van Mander, Cornelis was himself learned in poetry and history and only painted as an amateur, not for a living. Documents in the Antwerp archives invariably refer to him as a merchant, never as a painter, which no doubt accounts for the small number of known paintings by him. He learnt to paint with an otherwise unknown artist, Jan Adriaensens, who had also taught his older brother Lodewijk van Dalem ( fl 1544-85). The latter was inscribed as a pupil in 1544-5 and became a master in the guild in 1553-4. Cornelis was himself inscribed a year after his brother, and he became a master in 1556, the same year he married Beatrix van Liedekercke, a member of an Antwerp patrician family. They lived in Antwerp until late 1565, when, apparently for religious reasons, they left for Breda, together with the artist mother, who had become a widow in 1561. In 1571 several local witnesses testified that van Dalem, who was then living in a small castle, De Ypelaar, in Bavel, near Breda, was strongly suspected of being a heretic. He was never seen in church and was said, on the contrary, to have often attended Protestant services and to have publicly expressed contempt for Papists. 1564
Pinakothek, Munich
Painting ID:: 693
|
|
|
|
|
|
|
|
|
Landscape
Dutch Baroque Era Painter, ca.1610-1668
Painting ID:: 2848
|
|
|
|
|
|
|
|
|
Landscape
1638-1709
Dutch
Meindert Hobbema Galleries Panel,Alte
Pinakothek,Munich
Painting ID:: 10252
|
|
|
|
|
|
|
|
|
Landscape
Flemish painter (b. 1564, Antwerpen, d. 1634/35, Antwerpen).
Oil on canvas, 174 x 256 cm
Museo del Prado, Madrid
Painting ID:: 8251
|
|
|
|
|
|
|
|
|
Landscape
189?
Oil on Paper on canvas
1' 9 3/4'' x 1' 8''(55 x 46 cm)
Painting ID:: 11669
|
|
|
|
|
|
|
|
|
Landscape
French Rococo Era Painter, 1703-1770
Francois Boucher seems to have been perfectly attuned to his times, a period which had cast off the pomp and circumstance characteristic of the preceding age of Louis XIV and had replaced formality and ritual by intimacy and artificial manners. Boucher was very much bound to the whims of this frivolous society, and he painted primarily what his patrons wanted to see. It appears that their sight was best satisfied by amorous subjects, both mythological and contemporary. The painter was only too happy to supply them, creating the boudoir art for which he is so famous.
Boucher was born in Paris on Sept. 29, 1703, the son of Nicolas Boucher, a decorator who specialized in embroidery design. Recognizing his sons artistic potential, the father placed young Boucher in the studio of François Lemoyne, a decorator-painter who worked in the manner of Giovanni Battista Tiepolo. Though Boucher remained in Lemoynes studio only a short time, he probably derived his love of delicately voluptuous forms and his brilliant color palette from the older masters penchant for mimicking the Venetian decorative painters. mk531743
oil on canvas
90.8x118.1cm
Barnard Castle,Bowes Museum
Painting ID:: 26651
|
|
|
|
|
|
|
|
|
Landscape
French Post-Impressionist Painter, 1839-1906
During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world.
As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world.
The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness.
C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861.
In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design.
The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871). mk62
1870-1871
Oil on canvas
53.8x64.9cm
Frankfurt
Painting ID:: 27735
|
|
|
|
|
|
|
|
|
Landscape
Spanish , 1826-1894
mk61
Oil on canvas
112x205cm
Painting ID:: 28767
|
|
|
|
|
|
|
|
|
Landscape
1712-1793
Italian
Francesco Guardi Galleries mk65
ca.1790
Oil on canvas
47x60"
Painting ID:: 29244
|
|
|
|
|
|
|
|
|
Landscape
Dutch painter (b. 1615, Kleve, d. 1660, Amsterdam).
1637
Oil on wood, 49 x 75 cm
Painting ID:: 29578
|
|
|
|
|
|
|
|
|
Landscape
Romanian Painter, 1838-1907 nn06
oil on canvas
46.5x34.5cm
National Art Museum of Roman
Bucharest
Painting ID:: 30802
|
|
|
|
|
|
|
|
|
Landscape
1866-1944
Wassily Kandinsky Galleries
mk68
Oil on canvas
Saint Petersburg,
State Hermitage Museum
1913
Russia
Painting ID:: 30901
|
|
|
|
|
|
|
|
|
Landscape
1866-1944
Wassily Kandinsky Galleries
mk68
1913
Painting ID:: 30956
|
|
|
|
|
|
|
|
|
Landscape
1776-1837
British
John Constable Locations
1837). English painter and draughtsman. His range and aspirations were less extensive than those of his contemporary J. M. W. Turner, but these two artists have traditionally been linked as the giants of early 19th-century British landscape painting and isolated from the many other artists practising landscape at a time when it was unprecedentedly popular. Constable has often been defined as the great naturalist and deliberately presented himself thus in his correspondence, although his stylistic variety indicates an instability in his perception of what constituted nature. He has also been characterized as having painted only the places he knew intimately, which other artists tended to pass by. While the exclusivity of Constable approach is indisputable, his concern with local scenery was not unique, being shared by the contemporary Norwich artists. By beginning to sketch in oil from nature seriously in 1808, he also conformed with the practice of artists such as Thomas Christopher Hofland (1777-1843), William Alfred Delamotte, Turner and, particularly, the pupils of John Linnell. Turner shared his commitment to establishing landscape as the equal of history painting, despite widespread disbelief in this notion. Nevertheless, although Constable was less singular than he might have liked people to believe, his single-mindedness in portraying so limited a range of sites was unique, and the brilliance of his oil sketching unprecedented, while none of his contemporaries was producing pictures resembling The Haywain (1821; London, N.G.) or the Leaping Horse (1825; London, RA). This very singularity was characteristic of British artists at a time when members of most occupations were stressing their individuality in the context of a rapidly developing capitalist economy mk82
after Teniers 1823
Painting ID:: 32979
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1854
Painting ID:: 35184
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1867
22.7x32cm
Painting ID:: 35185
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1859
Painting ID:: 35186
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1862
Painting ID:: 35188
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1874
Painting ID:: 35189
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
38.5x30.3cm
Painting ID:: 35190
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1869
62x88cm
Painting ID:: 35193
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1870
Oil painting
Painting ID:: 35194
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1869
Oil on canvas
62x54cm
Painting ID:: 35195
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1870
32.5x45.7cm
Painting ID:: 35196
|
|
|
|
|
|
|
|
|
Landscape
1830-1897
Russia Artist cn40
1872
22x33.9cm
Painting ID:: 35197
|
