1.
1824 in art
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Events in the year 1824 in Art. The Vow of Louis XIII, painted by Jean Auguste Dominique Ingres for the cathedral of Montauban, is exhibited at the Paris Salon, the Hay Wain by John Constable is also exhibited at the Paris Salon and wins a gold medal. Caspar David Friedrich enters a depressive episode, edwin Landseer visits Scotland for the first time to paint a portrait of Sir Walter Scott, he will return annually, concentrating on animal portraits. M. W. Turner – The Battle of Trafalgar Grand Prix de Rome, painting, Grand Prix de Rome, sculpture, Charles Seurre, Grand Prix de Rome, architecture, Henri Labrouste. Grand Prix de Rome, engraving, Grand Prix de Rome, music, Auguste Barbereau
2.
1830 in art
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Events from the year 1830 in art. David Wilkie appointed Principal Painter in Ordinary to King William IV of the United Kingdom following the death of Sir Thomas Lawrence, clarkson Stanfields panorama The Military Pass of the Simplon is featured in a Christmas pantomime in London. Edward Lear commences publication of the lithographed Illustrations of the Family of Psittacidae, approximate beginning of the Barbizon school of painters. Agustín Esteve, Spanish portraitist and royal court painter Jean-Baptiste Giraud, French sculptor
3.
1835 in art
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Events from the year 1835 in art. June 6 – Augustus Welby Northmore Pugin is received into the Roman Catholic Church, june – Caspar David Friedrich suffers his first stroke, which restricts his ability to paint in oils. August – H. Fox Talbot exposes the worlds first known photographic negatives at Lacock Abbey in England, victor Cousin introduces the expression Lart pour lart. Marie Tussaud establishes the first permanent Madame Tussauds wax museum in London
4.
1837 in art
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Events from the year 1837 in art. January 20 – Death of the neo-classical architect Sir John Soane gives effect to the creation of his London house as Sir John Soanes Museum, june 1 – The Government-funded Normal School of Design, predecessor of the Royal College of Art, begins classes at Somerset House in London. July – Edward Lear leaves Knowsley Hall in England to travel to Rome, marie Louise Élisabeth Vigée-Lebrun publishes the second volume of her memoirs
5.
1828 in architecture
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The year 1828 in architecture involved some significant events. July 17 - Stone Kingston Bridge, London, designed by Edward Lapidge, october 25 - St Katharine Docks in London, designed by Philip Hardwick. St Stephens Church, Edinburgh, designed by William Henry Playfair, chaudière Bridge, Ottawa, Canada, designed by Colonel John By. Jašiūnai Manor, Lithuania, designed by Karol Podczaszyński, western Pavilion, Brighton, UK, designed by Amon Henry Wilds. Westminster Arcade in Providence, Rhode Island, USA, built by Russell Warren, heinrich Hübsch - In welchem Style sollen wir bauen
6.
Montpellier
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Montpellier is a city in southern France. It is the capital of the Hérault department, Montpellier is the 8th largest city of France, and is also the fastest growing city in the country over the past 25 years. Nearly one third of the population are students from three universities and from three higher education institutions that are outside the university framework in the city. Located on the south coast of France on the Mediterranean Sea, it is the third-largest French city on the Mediterranean coast after Marseille and Nice. Montpellier is one of the few cities in France without any Roman heritage. In the Early Middle Ages, the episcopal town of Maguelone was the major settlement in the area. Montpellier, first mentioned in a document of 985, was founded under a feudal dynasty, the Guilhem. The two surviving towers of the city walls, the Tour des Pins and the Tour de la Babotte, were built later, william VIII of Montpellier gave freedom for all to teach medicine in Montpellier in 1180. This era marked the point of Montpelliers prominence. The city became a possession of the Kings of Aragon in 1204 by the marriage of Peter II of Aragon with Marie of Montpellier, who was given the city and its dependencies as part of her dowry. Montpellier gained a charter in 1204 when Peter and Marie confirmed the traditional freedoms. Under the Kings of Aragon, Montpellier became an important city, a major economic centre. It was the second or third most important city of France at that time, with its importance steadily increasing, the city finally gained a bishop, who moved from Maguelone in 1536, and the huge monastery chapel became a cathedral. In 1432, Jacques Cœur established himself in the city and it became an important economic centre, at the time of the Reformation in the 16th century, many of the inhabitants of Montpellier became Protestants and the city became a stronghold of Protestant resistance to the Catholic French crown. In 1622, King Louis XIII besieged the city surrendered after a two months siege, afterwards building the Citadel of Montpellier to secure it. Louis XIV made Montpellier capital of Bas Languedoc, and the town started to embellish itself, by building the Promenade du Peyrou, the Esplanade, after the French Revolution, the city became the capital of the much smaller Hérault. During the 19th century the city developed into an industrial centre, in the 1960s, its population grew dramatically after French settlers in Algeria were resettled in the city following Algerias independence from France. In the 1980s and 1990s, the city drew attention with a number of redevelopment projects, such as the Corum
7.
J. M. W. Turner
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Joseph Mallord William Turner, RA was an English Romanticist landscape painter. Turner was considered a figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting and he is commonly known as the painter of light. Joseph Mallord William Turner was baptised on 14 May 1775, and it is generally believed he was born between late April and early May. Turner himself claimed he was born on 23 April, but there is no proof and he was born in Maiden Lane, Covent Garden, in London, England. His father, William Turner, was a barber and wig maker and his mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann, was born in September 1778, the earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Henry Boswells Picturesque View of the Antiquities of England and Wales. Around 1786, Turner was sent to Margate on the north-east Kent coast, here he produced a series of drawings of the town and surrounding area foreshadowing his later work. Turner returned to Margate many times in later life, by this time, Turners drawings were being exhibited in his fathers shop window and sold for a few shillings. His father boasted to the artist Thomas Stothard that, My son, in 1789, Turner again stayed with his uncle who had retired to Sunningwell in Berkshire. A whole sketchbook of work from time in Berkshire survives as well as a watercolour of Oxford. The use of sketches on location, as the foundation for later finished paintings. By the end of 1789, he had begun to study under the topographical draughtsman Thomas Malton. Turner learned from him the tricks of the trade, copying and colouring outline prints of British castles. He would later call Malton My real master, topography was a thriving industry by which a young artist could pay for his studies. In the same year of 1789 he entered the Royal Academy of Art schools, when he was 14 years old, Sir Joshua Reynolds, president of the Royal Academy, chaired the panel that admitted him. At first Turner showed a keen interest in architecture, but was advised by the architect Thomas Hardwick to continue painting and his first watercolour painting A View of the Archbishops Palace, Lambeth was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15. As a probationer in the academy, he was drawing from plaster casts of antique sculptures
8.
Chichester Canal (painting)
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Chichester Canal is a painting by the English Romantic landscape painter, watercolourist and printmaker J. M. W. Turner. It was painted in 1828 and was commissioned by George Wyndham, the work depicts the Chichester Canal in Sussex, southern England. The ship is probably a collier brig, as this scene had commercial purpose. Its brilliant colours may have influenced by atmospheric ash from the eruption of Mount Tambora in Indonesia. Atmospheric effects of volcanic eruptions as seen by artists and depicted in their paintings. Scientific paper from Atmospheric Chemistry and Physics,2007
9.
Thomas Cole
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Thomas Cole was an English-born American artist known for his landscape and history paintings. He is regarded as the founder of the Hudson River School, Coles work is known for its romantic portrayal of the American wilderness. Born in Bolton le Moors, Lancashire, in 1801, Coles family emigrated to the United States in 1818, settling in Steubenville, at the age of twenty-two Cole moved to Philadelphia, and later, in 1825, to New York City with his family. Cole found work early on as an engraver and he was largely self-taught as a painter, relying on books and by studying the work of other artists. In 1822 Cole started working as a painter, and later on gradually shifted his focus to landscape. This garnered Cole the attention of John Trumbull, Asher B, among the paintings was a landscape called View of Fort Ticonderoga from Gelyna. Cole was primarily a painter of landscapes, but he also painted allegorical works, 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. Among Coles other famous works are the Oxbow, the Notch of the White Mountains, Daniel Boone at his cabin at the Great Osage Lake and he also painted The Garden of Eden, with lavish detail of Adam and Eve living amid waterfalls, vivid plants, and deer. In 2014, friezes painted by Cole on the walls of his home, 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 to 1842 abroad, mainly in England and Italy. Thomas Cole is best known for his work as an American landscape artist, however, he also produced thousands of sketches of varying subject matter. Over 2,500 of these sketches can be seen at The Detroit Institute of Arts, in 1842, Cole embarked on a Grand Tour of Europe in an effort to study in the style of the Old Masters and to paint its scenery. Most striking to Cole was Europes tallest active volcano, Mount Etna, Cole was so moved by the volcanos beauty that he produced several sketches and at least six paintings of it. The most famous of these works is A View from Mount Etna from Taormina which is a 78-by-120-inch oil on canvas. Cole also produced a detailed sketch View of Mount Etna which shows a panoramic view of the volcano with the crumbling walls of the ancient Greek theatre of Taormina on the far right. After 1827 Cole maintained a studio at the farm called Cedar Grove in the town of Catskill and he painted a significant portion of his work in this studio. In 1836 he married Maria Bartow of Catskill, a niece of the owner, Thomas Cole had a sister, Sarah, who was also a landscape painter. Additionally, Thomas Cole held many friendships with important figures in the art world including Daniel Wadsworth, with whom he shared a close friendship, proof of this friendship can be seen in the letters that were unearthed in the 1980s by the Trinity College, Watkinson Library
10.
John Constable
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John Constable, RA was an English Romantic painter. Born in Suffolk, he is principally for his landscape paintings of Dedham Vale. I should paint my own places best, he wrote to his friend John Fisher in 1821, painting is and his most famous paintings include Wivenhoe Park of 1816, Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art and he did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more works than in his native England, John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann Constable. His father was a corn merchant, owner of Flatford Mill in East Bergholt and, later. Golding Constable owned a ship, The Telegraph, which he moored at Mistley on the Stour estuary. He was a cousin of the London tea merchant, Abram Newman, although Constable was his parents second son, his older brother was intellectually disabled and John was expected to succeed his father in the business. After a brief period at a school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the business after leaving school, but his younger brother Abram eventually took over the running of the mills. In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk and Essex countryside, which was to become the subject of a large proportion of his art. These scenes, in his own words, made me a painter, and I am grateful, the sound of water escaping from mill dams etc. willows, old planks, slimy posts. He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, in 1799, Constable persuaded his father to let him pursue a career in art, and Golding granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended classes and anatomical dissections. Among works that inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci. He also read widely among poetry and sermons, and later proved a notably articulate artist, by 1803, he was exhibiting paintings at the Royal Academy. In 1802 he refused the position of drawing master at Great Marlow Military College, Constables usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He made occasional trips further afield, in 1803 he spent almost a month aboard the East Indiaman ship Coutts as it visited south-east ports, and in 1806 he undertook a two-month tour of the Lake District
11.
William Etty
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William Etty RA was an English artist best known for his history paintings containing nude figures. He was the first significant British painter of nudes and still lifes, born in York, he left school at the age of 12 to become an apprentice printer in Hull. He completed his apprenticeship seven years later and moved to London, there he studied under Thomas Lawrence and trained by copying works by other artists. Etty earned respect at the Royal Academy of Arts for his ability to paint realistic flesh tones, Ettys Cleopatras Arrival in Cilicia, painted in 1821, featured numerous nudes and was exhibited to great acclaim. Its success prompted several further depictions of scenes with nudes. All but one of the works he exhibited at the Royal Academy in the 1820s contained at least one nude figure, and he acquired a reputation for indecency. Despite this, he was successful and critically acclaimed, and in 1828 was elected a Royal Academician. Although he was one of the most respected artists in the country he continued to study at life classes throughout his life, a practice considered inappropriate by his fellow artists. In the 1830s Etty began to branch out into the lucrative but less respected field of portraiture. He continued to paint both male and female nudes, which caused criticism and condemnation from some elements of the press. An extremely shy man, Etty rarely socialised and never married, from 1824 until his death he lived with his niece Betsy. Even in London he retained a keen interest in his native York, and was instrumental in the establishment of the towns first art school, Etty was prolific and commercially successful throughout the 1840s, but the quality of his work deteriorated throughout this period. As his health worsened he retired to York in 1848. He died in 1849, shortly after a retrospective exhibition. In the immediate aftermath of his death his works became highly collectable, changing tastes meant his work later fell out of fashion, and imitators soon abandoned his style. By the end of the 19th century the value of all of his works had fallen below their original prices, in the late 18th and early 19th centuries, British painting was strongly influenced by Joshua Reynolds, the first president of the Royal Academy of Arts. After Reynoldss death his Discourses on Art, which extolled the notion of a duty to paint idealised subjects. The Royal Academy dominated British art, with the annual Royal Academy Summer Exhibition the most important event in the calendar
12.
The Dawn of Love (painting)
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Loosely based on a passage from John Miltons 1634 masque Comus, it shows a nude Venus leaning across to wake the sleeping Love by stroking his wings. While Etty often included nude figures in his work he rarely depicted physical intimacy, the open sensuality of the work was intended to present a challenge to the viewer mirroring the plot of Comus, in which the heroine is tempted by desire but remains rational and detached. While a few critics praised elements of its composition and execution, the Dawn of Love was not among the 133 paintings exhibited in the major 1849 retrospective exhibition of Ettys works, and its exhibition in Glasgow in 1899 drew complaints for its supposed obscenity. In 1889 it was bought by Sir Merton Russell-Cotes, and has remained in the collection of the Russell-Cotes Art Gallery & Museum ever since, william Etty was born in 1787, the son of a York baker and miller. He began as a printer in Hull. In 1821 the Royal Academy accepted and exhibited one of Ettys works in the Summer Exhibition and this painting was extremely well received, and many of Ettys fellow artists greatly admired him. He became well respected for his ability to capture flesh tones accurately in painting, following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nude figures in biblical, literary and mythological settings. Etty was the first British artist to specialise in the nude, many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. The Dawn of Love illustrates a passage from Comus, a 1634 masque by John Milton. Comus is a morality tale in which the female protagonist, referred to only as The Lady and she encounters the debauched magician Comus who captures and imprisons her, and uses all the means at his disposal to try to inflame her sexual desires. The Lady resists all temptation, and using her reason and sense of morals resists Comuss efforts to draw her into intemperance or surrender to desire, Ettys painting is not a direct illustration of a scene from Comus. Night hath better sweets to prove, Venus now wakes, Ettys painting shows the nude Venus, as Goddess of nocturnal sport, reaching across to wake the sleeping Love by stroking his wings. The Dawn of Love intentionally presents a dilemma to viewers. By his open depiction of nudity and sensuality, Etty makes the argument as that presented by Comus. Etty exhibited the painting in February 1828 at the British Institution under the title of Venus Now Wakes, the Monthly Magazine complained of Venuss sullen colour and corpulent shape, as well as Ettys excessive exposure of figure. The harshest criticism came from a reviewer in The London Magazine. Mr. Etty seems conscious of the coldness of his flesh-colour and they are any thing but voluptuous or alluring. We would recommend to our artist to leave these small unfinished vignettes and his firm, broad, manly pencil, requires wider scope and a different subject
13.
The World Before the Flood
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The World Before the Flood is an oil painting on canvas by English artist William Etty, first exhibited in 1828 and currently in the Southampton City Art Gallery. It depicts a scene from John Miltons Paradise Lost in which, among a series of visions of the shown to Adam. Behind the courting group, an oncoming storm looms, a symbol of the destruction which the dancers and lovers are about to bring upon themselves, when first exhibited at the 1828 Royal Academy Summer Exhibition the painting attracted large crowds, and strongly divided critical opinion. It was greatly praised by critics, who counted it among the finest works of art in the country. Other reviewers condemned it as crude, tasteless, offensive and poorly executed, the painting was bought at the Summer Exhibition by the Marquess of Stafford. It was sold in 1908, long after Etty had fallen out of fashion, for a loss, and sold again in 1937 for a further substantial loss to the Southampton City Art Gallery. The two paintings were exhibited together as part of a retrospective of Ettys work in 2011–12. William Etty was born in 1787, the son of a York baker and miller, on 8 October 1798, at the age of 11, William was apprenticed as a printer to Robert Peck of Hull, publisher of local newspaper the Hull Packet. On completing his apprenticeship he moved at the age of 18 to London. In 1821 the Royal Academy accepted and exhibited one of Ettys works, the painting was extremely well received, and many of Ettys fellow artists greatly admired him. He was elected a full Royal Academician in 1828, at time the most prestigious honour available to an artist. He became well respected for his ability to capture flesh tones accurately, in the decade following the exhibition of Cleopatra Etty tried to replicate its success by painting nude figures in biblical, literary and mythological settings. Etty was the first British artist to specialise in paintings of nudes, many critics condemned his repeated depictions of female nudity as indecent, although his portraits of males in a similar state of undress were generally well received. The World Before the Flood illustrates lines 580–97 from Book XI of John Miltons Paradise Lost, among the visions of the future the Archangel Michael shows to Adam is the world after the expulsion from the Garden of Eden but before the Great Flood. The painting shows the stages of courtship as described by Milton, as men are seduced by women, Etty worked through various configurations for the characters in the painting before settling on his final design. Adam and Michael are not visible in the painting, instead, the viewer sees the scene from Adams point of view. Ettys painting is a Bacchanalian scene, centred on a group of six scantily-clad women dancing, the womens cheeks are flushed both with the exertion of their dancing and with their lustful attempts to seduce the watching men. The men let their eyes rove without rein, each choosing the woman he wants to be with, at the left, five men eye the six dancing women
14.
Sarah Goodridge
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Sarah Goodridge was an American painter who specialized in portrait miniatures. She was the sister of Elizabeth Goodridge, also an American miniaturist. Goodridge was born in Templeton, Massachusetts, the child and third daughter of Ebenezer Goodridge. At an early age, she began drawing and showed an aptitude for art, womens educational opportunities were limited at the time and where Goodridge lived, so she was largely a self-taught artist. She attended the district school. Her early sketches of people around her were on birch bark since she lacked the resources to purchase paper and she stayed with her brother, William M. Goodrich, for a few months in Milton, and attended a boarding school there. She also got a few drawing lessons in Boston where she accompanied her brother, in Boston, she also met Gilbert Stuart who took an interest in her work. In 1820, she went to live with her sister Eliza in Boston and began receiving lessons and her work continued to improve and she earned enough from commissions to support herself and her family for several decades. She eventually specialized in miniatures painted on ivory, getting lessons from a Hartford miniaturist, almost certainly Elkanah Tisdale and her paintings were exhibited in Boston and Washington D. C. After her eyesight failed in 1851, she retired from painting and settled in Reading, among Goodridges most interesting and personal works is a miniature portrait of her own bared breasts, entitled Beauty Revealed, now in the Metropolitan Museum of Art in New York. It was the inspiration for a miniature painted by the heroine of Blindspot, A Novel, by Jane Kamensky. Executed in 1828, it was presented by the artist to her friend, correspondent. The work was included in the retrospective, The Philippe de Montebello Years, Curators Celebrate Three Decades of Acquisitions, famous American Women, A Biographical Dictionary from Colonial Times to the Present. Proceedings of the American Antiquarian Society, the Life and Works of Gilbert Stuart
15.
Beauty Revealed
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Beauty Revealed is an 1828 self-portrait by the American artist Sarah Goodridge, painted in miniature with watercolors on a piece of ivory. Depicting the artists bared breasts surrounded by pale cloth, the 6. 7-by-8-centimetre painting – originally on a paper backing – is set in a modern case. Goodridge, aged forty when she completed the miniature, depicts breasts which appear imbued with a balance, paleness, and buoyancy by the harmony of light, color, the surrounding cloth draws the viewer to focus on them, leading to the body being erased. Goodridge gave the portrait to statesman Daniel Webster, who was a frequent subject and possibly a lover, following the death of his wife, she may have intended to provoke him into marrying her. Although Webster married someone else, his family held onto the portrait until the 1980s, the couple donated or sold the miniatures of their art collection, including Beauty Revealed, to the Metropolitan Museum of Art in 2006. Beauty Revealed is a self-portrait by Sarah Goodridge, depicting her bared breasts, pink nipples, and these are presented in a gradation of color, giving a three-dimensional effect. The breasts are framed by a swirl of pale cloth, which in parts reflects the light, the 6. 7-by-8-centimetre painting is set in a case, it had originally been installed on a paper backing which had the date 1828 on the reverse. The work is a painting on ivory, thin enough for light to shine through. This medium was common for American miniatures, but in this also served as a simile for the flesh presented upon it. Beauty Revealed was completed during a period of popularity of portrait miniatures, by the time Goodridge completed her self-portrait, miniatures were increasing in complexity and vibrance. The Heilbrunn Timeline of Art History describes Beauty Revealed as a play on the eye miniatures which were popular as tokens of affection in England and France. Such miniatures allowed portraits of loved ones to be carried by their suitors without revealing the sitters identities, Goodridge was a prolific Boston-based portrait miniature painter who had studied under Gilbert Stuart and Elkanah Tisdale. She had an association with Daniel Webster, a politician who began services as Senator from Massachusetts in 1827. Goodridge completed Beauty Revealed in 1828, likely from looking at herself in a mirror, several works have been cited as possible inspirations, including John Vanderlyns Ariadne Asleep on the Island of Naxos and Horatio Greenoughs sculpture Venus Victrix. Goodridge sent her portrait to Webster when he was a new widower, ultimately, however, Webster married another, wealthier woman. After Websters death, Beauty Revealed continued to be handed down by his family, the politicians descendants held that Goodridge and Webster had been engaged. C. and the Art Institute of Chicago. Beauty Revealed was one of more than three hundred portrait miniatures compiled by the couple, who gave it to the Met in 2006, as part of a gift/purchase arrangement of their collection. Carrie Rebora Barratt and Lori Zabar of the Met describe Goodridges self-portrait as the most compelling of the strange, holland Cotter of The New York Times highlighted Goodridges self-portrait, describing it as remarkable
16.
Orest Kiprensky
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Orest Adamovich Kiprensky was a leading Russian portraitist in the Age of Romanticism. His most familiar work is probably his portrait of Alexander Pushkin, orest was born in the village of Koporye near Saint Petersburg on 24 March 1782. He was a son of a landowner Alexey Dyakonov, hence his name, derived from Kypris. He was raised in the family of Adam Shvalber, a serf and he studied at the boarding school and the Academy itself until 1803. He lived at the Academy for three years as a pensioner to fulfill requirements necessary to win the Major Gold medal. Winning the first prize for his work Prince Dmitri Donskoi after the Battle of Kulikovo enabled the young artist to go abroad to study art in Europe. A year before his graduation, in 1804, he painted the portrait of Adam Shvalber, his foster father, the portrait so impressed his contemporaries, that later members of the Naples Academy of Arts took it for the painting by some Old Master – Rubens or van Dyck. Kiprensky had to ask the members of the Imperial Academy of Arts for letters supporting his authorship, after that, Kiprensky lived in Moscow, Tver 1811, Saint Petersburg 1812, in 1816–1822 he lived in Rome and Napoli. In Italy he met a local girl Anne Maria Falcucci, to whom he became attached and he bought her from her dissolute family and employed as his ward. On leaving Italy, he sent her to a Roman Catholic convent, in 1828, Kiprensky came back to Italy, as he got a letter from his friend Samuel Halberg, informing him that they had lost track of Mariucci. Kiprensky found Mariucci, who had transferred to another convent. In 1836 he eventually married her and he had to convert into Roman Catholicism from Russian Orthodoxy for this marriage to happen. He died by pneumonia in Rome later that year and he is buried in the church of SantAndrea delle Fratte
17.
August Kopisch
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August Kopisch was a German poet and painter. Kopisch was born on 26 May 1799 in Breslau, Prussia, in 1815 he began studying painting at the Prague academy, but an injury to his hand damaged his prospects of success as an artist, and he turned to literature. After residences in Dresden and Vienna Kopisch proceeded in 1822 to Italy, at Naples he became close friends with the poet August von Platen-Hallermünde, and when out swimming he and the painter Ernst Fries discovered the Blue Grotto of Capri. In 1828 he settled at Berlin and was granted a pension by Frederick William IV of Prussia, in 1847 he moved to Potsdam and wrote an account of royal residences there and in the neighborhood. He died on 6 February 1853 at Berlin, Kopisch produced some original poetry, light in language and in form. He also published a translation of Dantes Divine Comedy, and under the title Agrumi a collection of translations of Italian folk songs, Agrumi, volksthümliche Posien aus allen Mundarten Italiens und seiner Inseln. Mörike Verlag, München 1913 Dieter Richter, Entdeckung der blauen Grotte auf der Insel Capri, wagenbach Verlag, Berlin 1997, ISBN 3-8031-1163-3 Die göttliche Komödie des Dante Alighieri. Brachvogel & Raubtiere, ist sehr berühmt geworden, Die königlichen Schlösser und Gärten zu Potsdam. Von der Zeit ihrer Gründung bis zum Jahre 1852, mein allererstes Märchenbuch, Die Heinzelmännchen zu Köln. Edition Paletti, Köln 2004, ISBN 3-89893-892-1, August Kopisch at Web Gallery of Art Works by August Kopisch at Projekt Gutenberg-DE Works by or about August Kopisch at Internet Archive Works by August Kopisch at LibriVox
18.
Thomas Lawrence
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Sir Thomas Lawrence PRA FRS was a leading English portrait painter and the fourth president of the Royal Academy. He was born in Bristol and began drawing in Devizes, where his father was an innkeeper, at the age of ten, having moved to Bath, he was supporting his family with his pastel portraits. At eighteen he went to London and soon established his reputation as a painter in oils, receiving his first royal commission. He stayed at the top of his profession until his death, aged 60, self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint. He became an associate of the Royal Academy in 1791, a member in 1794. Lawrences love affairs were not happy and, in spite of his success, at his death, Lawrence was the most fashionable portrait painter in Europe. His reputation waned during Victorian times, but has since been partially restored, Thomas Lawrence was born at 6 Redcross Street, Bristol, the youngest surviving child of Thomas Lawrence, a supervisor of excise, and Lucy Read, the daughter of a clergyman. The couple had 16 children but only five survived infancy, Lawrences brother Andrew became a clergyman, William had a career in the army, sisters Lucy and Anne married a solicitor and a clergyman. Soon after Thomas was born his father decided to become an innkeeper and took over the White Lion Inn and next-door American Coffee House in Broad Street, Bristol. It was during the familys stay at the Black Bear Inn that Lawrence senior began to make use of his sons precocious talents for drawing and reciting poetry. Visitors would be greeted with the words Gentlemen, heres my son – will you have him recite from the poets, among those who listened to a recitation from Tom, or Tommy as he was called, was the actor David Garrick. Lawrences formal schooling was limited to two years at The Fort, a school in Bristol, when he was aged six to eight, and he also became accomplished in dancing, fencing, boxing and billiards. But once again Lawrence senior failed as a landlord and, in 1779, he was declared bankrupt, from now on, Lawrence was to support his parents with the money he earned from his portraits. The family settled at 2 Alfred Street in Bath, and the young Lawrence established himself as a portraitist in pastels, the oval portraits, for which he was soon charging three guineas, were about 12 inches by 10 inches, and usually portrayed a half-length. His sitters included the Duchess of Devonshire, Sarah Siddons, Sir Henry Harpur, Warren Hastings, sometime before his eighteenth birthday in 1787 Lawrence arrived in London, taking lodgings in Leicester Square, near to Joshua Reynolds studio. He was introduced to Reynolds, who advised him to study nature, Lawrence set up a studio at 41 Jermyn Street and installed his parents in a house in Greek Street. In the Royal Academy exhibition of 1788 Lawrence was represented by five portraits in pastels and one in oils, a medium he quickly mastered. Between 1787 and his death in 1830 he would miss two of the annual exhibitions, once,1809, in protest about the way his paintings had been displayed and once, in 1819
19.
James Arthur O'Connor
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James Arthur OConnor was an Irish painter. James Arthur OConnor was born 15 Astons Quay, Dublin – the son of an engraver and printer, OConnor would become a distinguished landscape painter. He was self-taught, receiving just a few lessons from William Sadler and he travelled to London with Francis Danby and George Petrie, exhibiting at the Royal Academy in 1822. OConnor visited France, Belgium, the Netherlands, and the Rhineland and he died poor, in Brompton, London,7 January 1841. OConnor was married – his wifes name was Anastatia, the list below contains an incomplete list of his works and gives either the owner or the location of where the original is found today. Dublin, The National Gallery of Ireland,1985, the quiet man of Irish landscape painting. OConnor painting at AskArt OConnor at Wolverhampton Arts
20.
Rembrandt Peale
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Rembrandt Peale was an American artist and museum keeper. A prolific portrait painter, he was acclaimed for his likenesses of presidents George Washington. Peales style was influenced by French Neoclassicism after a stay in Paris in his early thirties, Rembrandt Peale was born the third of six surviving children to his mother, Rachel Brewer, and father, Charles Willson Peale in Bucks County, Pennsylvania, on February 22,1778. The father, Charles, also a notable artist, named him after the noted 17th-century Dutch painter and engraver Rembrandt Harmenszoon van Rijn. His father also taught all of his children, including Raphaelle Peale, Rubens Peale and Titian Peale, to paint scenery and portraiture, Rembrandt began drawing at the age of 8. A year after his mother’s death and the remarriage of his father, Peale left the school of the arts, the canvas displays the young artists early mastery. The clothes, however, give the notion that Peale exaggerated what a 13-year-old would look like, later in his life, Peale often showed this painting to young beginners, to encourage them to go from bad to better. In July 1787, Charles Willson Peale introduced his son Rembrandt to George Washington, in 1795, at the age of 17, Rembrandt painted an aging Washington, making him appear far more aged than in reality. The portrait was well received, and Rembrandt had made his debut, at the age of 20, Peale married 22-year-old Eleanor May Short at St. Josephs Catholic Church in Philadelphia. During their marriage, Peale and Short had nine children, Rosalba, Eleanor, Michael Angelo, Angelica, in 1822, Peale moved to New York City where he embarked on an attempt to paint what he hoped would become the standard likeness of Washington. He studied portraits by artists including John Trumbull, Gilbert Stuart and his own father. Peale subsequently attempted to capitalize on the success of what became known as his Porthole picture. Patriae Pater was purchased by Congress in 1832 for $2,000 and it currently hangs in the Old Senate Chamber. In 1826 he helped found the National Academy of Design in New York City, Peale went on to create over 70 detailed replicas, including one of Washington in full military uniform that currently hangs in the Oval Office. Peale continued to paint other noted portraits, such as those of the third president Thomas Jefferson while he was in office, noted for his itinerant nature, Peale visited Europe several times to study art. Throughout his life, Peale traveled across the Western Hemisphere in search of inspiration and his father helped pay his way to Paris, where he stayed from June to September 1808, and again from October 1809 to November 1810. In Paris, Peale studied the works of Jacques-Louis David, which influenced him to paint in the Neoclassical style and he painted the famous explorer Alexander von Humboldt and several other noted patrons such as Joseph Louis Gay-Lussac and François André Michaux. After his successes in France, Peale returned to Philadelphia in 1810 and his efforts to establish his knowledge and mastery of art were displayed in his painting The Roman Daughter
21.
Joseph Karl Stieler
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Joseph Karl Stieler was a German painter. From 1820 until 1855 he worked as court painter of the Bavarian kings. He is known for his Neoclassical portraits, especially for the Gallery of Beauties at Nymphenburg Palace in Munich, born in the city of Mainz to a long-established family of engravers, punchcutters and die makers, Stieler received some artistic training from his father, August Friedrich Stieler. Here he met with the later Archbishop Karl Theodor Anton Maria von Dalberg, from 1802 to 1805 he attended the Academy of Fine Arts Vienna in the master class of Heinrich Füger. Stielers portrait style was most especially shaped during his work in the Parisian atelier of François Gérard, in 1808, he established himself as an independent portraitist in the city of Frankfurt and in 1810 travelled through Italy. From 1812 he worked at the court of King Maximilian I Joseph of Bavaria, in 1816, he again travelled to Vienna to paint the portrait of Emperor Francis I of Austria. Between February and April 1820, he worked on his portrait of Ludwig van Beethoven, in 1847 he also painted the portrait of Lola Montez, whose affair with King Ludwig I of Bavaria led to the monarchs abdication the next year. Stieler retired in 1855 to live at his home in Tegernsee. He died in Munich three years later and his son Karl Stieler became a well-known writer. Stieler worked mainly in the service of the Bavarian court and his painted likenesses in Schloss Nymphenburg, the Schönheitengalerie, the so-called Gallery of Beauties, were commissioned by King Ludwig I of Bavaria. Stieler painted the portraits of Johann Wolfgang von Goethe, Amalia of Greece, Friedrich Wilhelm Joseph von Schelling, Johann Ludwig Tieck, and Alexander von Humboldt, the most distinguishing feature of Stielers portraits is his utter focus on the sitter. Decorative additions are left out, and there is nothing that distracts the viewers scrutiny, Stieler accomplished this concentration through deliberate light–dark contrast, which above all highlights the accurately characterized facial features
22.
Nymphenburg Palace
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Castle of the Nymph, is a Baroque palace in Munich, Bavaria, southern Germany. The palace is the summer residence of the former rulers of Bavaria of the House of Wittelsbach. The central pavilion was completed in 1675, as a building material it utilised limestone from Kelheim. The castle was expanded and transformed over the years. Starting in 1701, Max Emanuel, the heir to Bavaria, two pavilions were added each in the south and north of Barellis palace by Enrico Zucalli and Giovanni Antonio Viscardi and connected with the centre pavilion by two gallery wings. In 1716 Joseph Effner redesigned the facade of the pavilion in French Baroque style with pilasters. Later, the section of the palace was further extended to form the court stables. For the sake of balance, the building was added to the north. Finally, a circle with Baroque mansions was erected under Max Emanuels son Holy Roman Emperor Charles VII Albert. In 1795 the Elector Charles Theodore ordered the widening of the galleries on the park side, with the Treaty of Nymphenburg signed in July 1741, Charles Albert allied with France and Spain against Austria. Two of the children were born here, Maria Antonia in 1724. Charles Albert lived during his time in Munich as Holy Roman Emperor in Nymphenburg Palace, Joseph founded the Nymphenburg Porcelain Manufactory. In 1792 Elector Charles Theodor opened the park for the public, for a long time the palace was the favourite summer residence of the rulers of Bavaria. King Max I Joseph died there in 1825 and his great-grandson King Ludwig II was born there in 1845, in 1863 the only meeting between Ludwig and Otto von Bismarck was held in Nymphenburg, although they remained connected in a lifelong friendship. Today Nymphenburg is open to the public but also continues to be a home and chancery for the head of the house of Wittelsbach, currently Franz, the palace, together with its park, is now one of the most famous sights of Munich. The baroque facades comprise an overall width of about 700 metres, some rooms still show their original baroque decoration while others were later redesigned in rococo or neoclassical style. The Steinerner Saal in the pavilion, with ceiling frescoes by Johann Baptist Zimmermann and F. Zimmermann. Acting as a hall, it occupies over three floors of the central pavilion of the palace
23.
John Trumbull
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John Trumbull was an American artist during the period of the American Revolutionary War and was notable for his historical paintings. His Declaration of Independence was used on the reverse of the two-dollar bill, Trumbull was born in Lebanon, Connecticut, in 1756, to Jonathan Trumbull and his wife Faith Trumbull. His father served as Governor of Connecticut from 1769 to 1784, both sides of his family were descended from early Puritan settlers in the state. The young Trumbull entered the 1771 junior class at Harvard College at age fifteen, due to a childhood accident, Trumbull lost use of one eye, which may have influenced his detailed painting style. As a soldier in the American Revolutionary War, Trumbull rendered a service at Boston by sketching plans of the British works. He witnessed the Battle of Bunker Hill and he was appointed second personal aide to General George Washington, and in June 1776, deputy adjutant-general to General Horatio Gates. He resigned from the army in 1777 after a dispute over the dating of his officer commission, in 1780 he traveled to London, where he studied under Benjamin West. At Wests suggestion, Trumbull painted small pictures of the War of Independence and he painted about 250 in his lifetime. On September 23,1780, British agent Major John André was captured by Continental troops in North America, after news reached Great Britain, outrage flared and Trumbull was arrested, as having been an officer in the Continental Army of similar rank to André. He was imprisoned for seven months in Londons Tothill Fields Bridewell, after being released, Trumbull returned to the United States. In 1784, following the British recognition of the United States independence, while working in his studio, Trumbull painted Battle of Bunker Hill and Death of General Montgomery in the Attack on Quebec. Both works are now in the Yale University Art Gallery, in 1785 Trumbull went to Paris, where he made portrait sketches of French officers for the Surrender of Lord Cornwallis. With the assistance of Thomas Jefferson, serving there as the US minister, while in Paris, Trumbull is credited with having introduced Jefferson to the Italian painter Maria Cosway, they became lifelong intimate friends. Trumbulls painting became widely known due to an engraving of it by Asher Brown Durand. All now hang in rotunda of the United States Capitol, congress reportedly authorized only funds sufficient to purchase these four paintings. Trumbulls The Sortie Made by the Garrison of Gibraltar,1789, in 1831 Trumbull sold a series of 28 paintings and 60 miniature portraits to Yale University for an annuity of $1,000. This is by far the largest single collection of his works, the collection was originally housed in a neoclassical art gallery designed by Trumbull on Yales Old Campus, along with portraits by other artists. His portraits include full lengths of General Washington and George Clinton, New York also bought his full-length paintings of Alexander Hamilton and John Jay
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