Swedish painter, etcher and sculptor. He was brought up by his grandparents at Mora. As he displayed a precocious talent for drawing he was admitted to the preparatory class of the Kungliga Akademi for de Fria Konsterna, Stockholm, at the age of 15. Dissatisfied with the outdated teaching and discipline of the Academy and encouraged by his early success as a painter of watercolour portraits and genre scenes (e.g. Old Woman from Mora, 1879; Mora, Zornmus.) Zorn left the Academy in 1881 to try to establish an international career. He later resided mainly in London but also travelled extensively in Italy, France, Spain, Algeria and the Balkans and visited Constantinople. However, he continued to spend most of his summers in Sweden. Related Paintings of Anders Zorn :. | Unknow work 85 | albert engsgstrom | Midnight | Unknow work 122 | Unknow work 57 |
Related Artists:Hans Smidth
Hans Ludvig Smidth (2 October 1839, Nakskov - 5 May 1917, Frederiksberg) was a Danish painter. He is remembered above all for his paintings of Jutland and its local inhabitants.
Smidth was the son of the city bailiff of Skive, Edvard Philip Smidth, and the brother of Verner Frederik Læssøe Smidth who founded the cement concern F. L. Smidth & Co. After graduating from school, he began to study medicine but gave it up in favour of art. In 1861, he entered the Danish Academy where he studied under Niels Simonsen. In 1866, he began to experience financial difficulties and left the Academy to continue his studies himself, painting scenes of Limfjord and the moors of Jutland. He first exhibited at Charlottenborg in 1867 with two landscape paintings and continued to exhibit there over the years. His works depicted country life in Jutland, most of them with an emphasis on animals and local figures. He had a talent for form and detail but his use of colour was rather dry, dimishing the appeal of his paintings to the general public. In 1870-71, he studied under Vilhelm Kyhn. As the years went by, Smidth's style developed considerably, earning him the Neuhausen Prize in 1877 for En fremmed spørger om Vej i Bondegaarden paa Heden which was not only technically impressive but showed a fineness of tone. His increasing acceptance as a master of painting in Jutland paved the way for his reputation at the national level.
In fact Smidth had to wait until the year 1900 before he experienced full recognition. That year the Danish Art Society arranged a special exhibition of the artist's work although he was now 60. Unexpectedly 290 of the 300 works sketches and drawings exhibited were sold. In retrospect, his paintings are free of historical or mythical figures, they do not interpret scenes along the lines of the Skagen Painters. They simply depict the views of the people and the countryside as he saw them. His paintings show he had the same respect for the land as the peasants themselves.Julius von Blaas
1845-1923,was an Italian painter, the second son of Karl, born at Albano, Italy. He studied under his father, devoted himself principally to equestrian subjects, and went to Rome where he painted genre scenes from the Campagna. His "Race of Intoxicated Slavonic Peasants" (1869) is in the Imperial Museum of Vienna, as is "Antlassritt" (1899). Julius von Blaas was much employed by the Austrian court as a portrait painter and became professor in the Academy of Vienna.Francesco Solimena
Francesco Solimena Gallery
Francesco Solimena was born in Canale di Serino, near Avellino.
He received early training from his father, Angelo Solimena, with whom he executed a Paradise for the cathedral of Nocera (place where he spend a big part of his life) and a Vision of St. Cyril of Alexandria for the church of San Domenico at Solofra.
He settled in Naples in 1674, there he worked in the studio of Francesco di Maria and later Giacomo del Po. He apparently had taken the clerical orders, but was patronized early on, and encouraged to become an artist by Cardinal Vincenzo Orsini (later Pope Benedict XIII). By the 1680s, he had independent fresco commissions, and his active studio came to dominate Neapolitan painting from the 1690s through the first four decades of the 18th century. He modeled his art??for he was a highly conventional painter??after the Roman Baroque masters, Luca Giordano and Giovanni Lanfranco, and Mattia Preti, whose technique of warm brownish shadowing Solimena emulated. Solimena painted many frescoes in Naples, altarpieces, celebrations of weddings and courtly occasions, mythological subjects, characteristically chosen for their theatrical drama, and portraits. His settings are suggested with a few details??steps, archways, balustrades, columns??concentrating attention on figures and their draperies, caught in pools and shafts of light. Art historians take pleasure in identifying the models he imitated or adapted in his compositions. His numerous preparatory drawings often mix media, combining pen-and-ink, chalk and watercolor washes.
Francesco Solimena 'A study for the fresco cycle in the Sacristy of San Paolo Maggiore in Naples', Whitfield Fine Art.A typical example of the elaborately constructed allegorical "machines" of his early mature style, fully employing his mastery of chiaroscuro, is the Allegory of Rule (1690) from the Stroganoff collection, which has come to the State Hermitage Museum, St Petersburg.
He apparently hoped to see his son Orazio follow a career in the law, for which he received a doctorate (de Domenici), but also became a painter.
His large, efficiently structured atelier became a virtual academy, at the heart of cultural life in Naples. Among his many pupils were Francesco de Mura (1696-1784) , Giuseppe Bonito (1707-89), Pietro Capelli, Gaspare Traversi, and most notably Corrado Giaquinto and Sebastiano Conca. The Scottish portraitist Allan Ramsay spent three years in Solimena's studio. Solimena amassed a fortune, was made a baron and lived in sumptuous style founded on his success.
Francesco Solimena died at Barra, near Naples, in 1747.