Alma-Tadema, Sir Lawrence
b.Jan. 8, 1836, Dronrijp, Netherlands.
d.June 25, 1912, Wiesbaden, Germany.
Painter and designer of Dutch birth. The son of a notary, Alma-Tadema demonstrated an early artistic ability. In 1852 he entered the Antwerp Academy, where he studied under Gustaf, Baron Wappers, and Nicaise de Keyser. An important influence at this time was Louis De Taye, Professor of Archaeology at the academy and a practising artist. Alma-Tadema lived and worked with De Taye from 1857 to 1859 and was encouraged by him to depict subjects from the early history of France and Belgium. This taste for historical themes increased when Alma-Tadema entered Baron Henri Leys studio in 1859 and began assisting him with his monumental frescoes for the Antwerp Town Hall. While in Leys studio, Alma-Tadema produced several major paintings, for example the Education of the Children of Clovis (1861; ex-Sir John Pender priv. col., see Zimmern, p. 3) and Venantius Fortunatus Reading his Poems to Radagonda (1862; Dordrecht, Dordrechts Mus.), which are characterized by their obscure Merovingian subject-matter, rather sombre colouring and close attention to detail. Related Paintings of Alma-Tadema, Sir Lawrence :. | Her Eyes Are with her Thoughts and They Are Far Away (mk23) | Albert Moore (mk23) | Xanthe and Phaon (mk23) | Self-Portrait | An Apodyterium (mk23) |
Related Artists:William Hogarth
William Hogarth Galleries
Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride" and this shows the stupidity of people in following the crowd in buying stock in The South Sea Company, which spent more time issuing stock than anything else. The people are scattered around the picture with a real sense of disorder, which represented the confusion. The progress of the well dressed people towards the ride in the middle shows how foolish some people could be, which is not entirely their own fault.
Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington's prot??g??, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly, and are among his best book illustrations.
In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera.
One of his masterpieces of this period is the depiction of an amateur performance of John Dryden's The Indian Emperor, or The Conquest of Mexico (1732?C1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square.
Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some modern authorities, however, no longer attribute this to Hogarth).DOMENICO DI BARTOLO
Italian Early Renaissance Painter, 1400-ca.1447
was an Italian painter of the Sienese School. He was born in Asciano. According to Vasari, he was a nephew of Taddeo di Bartolo. He was employed by Vecchietta in the masterpiece fresco The Care of the Sick in the Pellegrinaio (Pilgrim's Hall) of the Ospedale di Santa Maria della Scala in Siena. It portrays wealthy donors visiting the hospital to men washing the ill, and a fatty friar hearing confession. In 1434, Georges Michel
French Painter, 1763-1843
French painter. He came from a humble background, his father being an employee at the market of Les Halles in Paris. At an early age, a farmer general, M. de Chalue, took an interest in him and found him a place with the curate of Veruts, on the plain of Saint-Denis, north of Paris. It was here that he first developed a love of the countryside. In 1775 he was apprenticed to a mediocre history painter called Leduc, but he preferred to go off and sketch out of doors. In order to assist him, M. de Berchigny, Colonel in the Hussars, engaged him in his regiment garrisoned in Normandy and arranged for him to take lessons in art. He remained there for more than a year and then returned to Paris, where he worked with M. de Grammont-Voulgy, who was Steward to the brother of Louis XVI.