German 1805-1873 Franz Xaver Winterhalter Galleries German painter and lithographer. He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Scheler (1785-1852) in Freiburg im Breisgau and went to Munich in 1823, sponsored by the industrialist Baron Eichtal. In 1825 he began a course of study at the Akademie and was granted a stipend by Ludwig I, Grand Duke of Baden. The theoretical approach to art of the Akademie under the direction of Peter Cornelius was unfamiliar to him, as in Freiburg he had been required to paint in a popular style. He found the stimulus for his future development in the studio of Joseph Stieler, a portrait painter who was much in demand and who derived inspiration from French painting. Winterhalter became his collaborator in 1825. From Stieler he learnt to make the heads of figures emerge from shadow and to use light in the modelling of faces. He moved to Karlsruhe in 1830 with his brother Hermann Winterhalter (1808-92), who had also trained with Scheler and had followed him to Munich.  Related Paintings of Franz Xaver Winterhalter :. | Madame Barbe de Rimsky-Korsakov | Charlotte Stuart, Viscountess Canning | Portrait of Sophia Alexandrovna Radziwill | Portrait of Helena of Mecklemburg-Schwerin, Duchess of Orleans with her son the Count of Paris | Portrait of Luisa Fernanda of Spain Duchess of Montpensier |
Related Artists:
Oliver Kemp
American, 1887-1934
Girolamo da Carpi
(1501-1556) was an Italian painter and decorator who worked at the Court of the House of Este in Ferrara. He began painting in Ferrara, by report apprenticing to Benvenuto Tisi (il Garofalo); but by age 20, he had moved to Bologna, and is considered a figure of Early Renaissance painting of the local Bolognese School. He trained in the studio of a local painter who showed the influence of Lorenzo Costa and Raphael. In the 1520s Girolamo visited Rome and Bologna and was inspired by the Mannerist style of Giulio Romano. Geographically and stylistically he straddles the various influences. He returned to Ferrara and collaborated with Dosso Dossi and Garofalo among others on commissions for the d'Este family. Girolamo became the architect to Pope Julius III in 1550 and supervised the remodeling of the Vatican's belvedere. Returning to Ferrara, he was charged of the enlargements of the Castello Estense. Da Carpi's paintings include a Descent of the Holy Spirit, in the church of St Francis at Rovigo; a Madonna, an Adoration of the Magi, and a St. Catharine at Bologna; and the St. George and the St. Jerome at Ferrara.
Meindert Hobbema
1638-1709 Dutch Meindert Hobbema Galleries In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical grey or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating, sometimes transiently, sometimes steadily, different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of the stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunities of charming our eye; and this wonderful artist, who is only second to Ruisdael because he had not Ruisdael's versatility and did not extend his study equally to downs and rocky eminences, or torrents and estuaries - this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to Adriaen van de Velde, Lingelbach, Barendt Gael, and Abraham Storck. As to this much is conjecture.