Anders Zorn
A Sweden Museum


Anders Zorn's Oil Paintings
Anders Zorn Museum
February 18, 1860 – August 22, 1920.
Anders Zorn

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Anders Zorn
Unknow work 60
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ID: 31476

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Anders Zorn Unknow work 60


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Anders Zorn

Swedish 1860-1920 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 Dissatisfied with the outdated teaching and discipline of the Academy and encouraged by his early success as a painter of watercolour portraits and genre scenes (e.g. Old Woman from Mora,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 122 | tappningssalen | hugo reisinger | klockmakaren | Unknow work 89 |
Related Artists:
Georg Scholz
1890-1945 was a German realist painter. Scholz was born in Wolfenb??ttel and had his artistic training at the Karlsruhe Academy, where his teachers included Hans Thoma and Wilhelm Tr??bner. He later studied in Berlin under Lovis Corinth. After military service in World War I lasting from 1915 to 1918, he resumed painting, working in a style fusing cubist and futurist ideas. In 1919 Scholz became a member of the Communist Party of Germany, and his work of the next few years is harshly critical of the social and economic order in postwar Germany. His Industrial Farmers of 1920 is an oil painting with collage that depicts a Bible-clutching farmer with money erupting from his forehead, seated next to his monstrous wife who cradles a piglet. Their subhuman son, his head open at the top to show that it is empty, is torturing a frog. Perhaps Scholz' best-known work, it is typical of the paintings he produced in the early 1920s, combining a very controlled, crisp execution with corrosive sarcasm. Scholz quickly became one of the leaders of the New Objectivity, a group of artists who practiced a cynical form of realism. The most famous among this group are Max Beckmann, George Grosz and Otto Dix, and Scholz's work briefly vied with theirs for ferocity of attack. By 1925, however, his approach had softened into something closer to neoclassicism, as seen in the Self-Portrait in front of an Advertising Column of 1926 and the Seated Nude with Plaster Bust of 1927. Appointed a professor at the Baden State Academy of Art in Karlsruhe in 1925, the students he taught included Rudolf Dischinger. Scholz began contributing in 1926 to the satirical magazine Simplicissimus, and in 1928 he visited Paris where he especially appreciated the work of Bonnard. With the rise to power of Hitler and the National Socialists in 1933,
Gabriel Metsu
1629-1667 Dutch Gabriel Metsu Galleries One of his earliest pictures is the "Lazarus" at the Strassburg Museum, painted under the influence of Jan Steen. In 1653 under the influence of Rembrandt he painted "Woman taken in Adultery," a large picture which is now in the Louvre. To the same period belong the "Departure of Hagar," formerly in the Thore collection, and the "Widow's Mite" at the Schwerin Gallery. But he probably observed that sacred art was ill suited to his temper, or he found the field too strongly occupied, and turned to other subjects for which he was better fitted. That at one time he was deeply impressed by the vivacity and bold technique of Frans Hals can be gathered from Lord Lonsdale's picture of "Women at a Fishmonger's Shop." What Metsu undertook and carried out from the first with surprising success was the low life of the market and tavern, contrasted, with wonderful versatility, by incidents of high life and the drawing-room. In no single instance do the artistic lessons of Rembrandt appear to have been lost upon him. The same principles of light and shade which had marked his schoolwork in the "Woman taken in Adultery" were applied to subjects of quite a different kind. A group in a drawing-room, a series of groups in the market-place, or a single figure in the gloom of a tavern or parlour, was treated with the utmost felicity by fit concentration and gradation of light, a warm flush of tone pervading every part, and, with that, the study of texture in stuffs was carried as far as it had been by Ter Borch or Gerard Dou, if not with the finish or the brio of De Hooch. One of the best pictures of Metsu's manhood is the "Market-place of Amsterdam," at the Louvre, respecting which it is difficult to distribute praise in fair proportions, so excellent are the various parts, the characteristic movement and action of the dramatis personae, the selection of faces, the expression and the gesture, and the texture of the things depicted. Equally fine, though earlier, are the "Sportsman" (dated 1661) and the "Tavern" (also 1661) at the Hague and Dresden Museums, and the "Game-Dealer's Shop," also at Dresden, with the painter's signature and 1662. Gabriel Metsu, Man Writing a Letter (1662-1665), Oil on canvas, National Gallery of Ireland, DublinAmong the five examples of the painter in the Wallace Collection, are "The Tabby Cat," and "The Sleeping Sportsman," which cost Lord Hertford £ 3000, is an admirable example technically considered. Among his finest representations of home life are the "Repast" at the Hermitage in St Petersburg; the "Mother nursing her Sick Child" in the Rijksmuseum in Amsterdam; the "Amateur Musicians" at the Hague Gallery; the "Duet" and the "Music Lesson" at the National Gallery, London, and many more examples at nearly all the leading European galleries. Five of his painting are in Dresden, collected by August the Strong.
Paul Troger
Austrian Painter, 1698-1762 was an Austrian painter, draughtsman and printmaker of the late Baroque period. Troger's illusionistic ceiling paintings in fresco are notable for their dramatic vitality of movement and their palette of light colors. Paul Troger??s style, particularly in his frescoes, dominated Austrian painting until the end of the 18th century and profoundly influenced significant artists of the next generation, notably Franz Anton Maulbertsch, Josef Ignaz Mildorfer, Johann Wenzel Bergl. Paul Troger was born on October 30, 1698, in Welsberg, in the Puster Valley of Tyrol (now Bolzano-Bozen, Italy). At the age of 16, under the patronage of the aristocratic Tyrolean von Firmian family, he visited Fiume and became a pupil of Giuseppe Alberti.[2] He painted his first fresco ??Three Angels with the Cross and Putti??, in the Chiesa del Calvario, Kaltern am See/Caldaro al Lago, Bolzano, Italy (1722). In 1722, the prince-bishop of Gurk sent Paul Troger to Venice, where he discovered the works of Giovanni Battista Piazzetta, and Giovanni Battista Pittoni. Troger also studied in Rome with Sebastiano Ricci, in Naples with Francesco Solimena and in Bologna, the leading artistic centers of Italy at the time. On his return to Austria, Troger first worked in Salzburg from 1726 to 1728, where he painted the "Glory of Saint Cajetan" on the ceiling of St. Cajetan??s Church, Salzburg (1728). He afterwards established himself in Vienna, where the art of ceiling frescoes was, however, dominated by Johann Michael Rottmayr and Daniel Gran. Paul Troger became the favourite fresco painter in Lower Austrian monasteries in collaboration with the architect Josef Munggenast. In 1753, he joined the Imperial Academy of Fine Arts.






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