1736-1813 Swiss Anton Graff Gallery Swiss painter, active in Germany. He was a pupil of Johann Ulrich Schellenburg (1709-95) in Winterthur and continued his training with Johann Jakob Haid in Augsburg between 1756 and 1765. He worked for the court painter Leonhard Schneider (1716-62) in Ansbach from 1757 to 1759, producing large numbers of copies of a portrait of Frederick the Great (probably by Antoine Pesne). This was an important step in furthering his career, as were the months he spent in Regensburg (1764-5) painting miniatures of clerics and town councillors. He was court painter to the Elector Frederick-Christian of Saxe-Weimar in Dresden from 1766 and taught at the Hochschule der Bildende K?nste there. In 1771 he travelled to Berlin, where he painted portraits of Jakob Mendelssohn, Gotthold Ephraim Lessing and J. G. Sulzer. Sulzer introduced him at court, which resulted in many commissions. He was invited several times to teach at the Akademie der K?nste in Berlin, but he remained in Dresden. He often travelled to Leipzig, and in summer he frequently went to Teplitz (now Teplice, Czech Republic) and Karlsbad (now Karlovy Vary, Czech Republic); he also worked in Berlin on several occasions and returned to Switzerland for visits.  Related Paintings of Anton Graff :. | Portrait of Juliane Wilhelmine Sophie von Sivers | Portrait of Friedrich August von Sivers | Portrat des Schauspielers Conrad Ekhof | Portrait of Princess Louise Augusta of Denmark | Bildnis eines Mannes |
Related Artists:
Catharina Van Hemessen
1528-after1587 was a Flemish Renaissance painter. She is the earliest female Flemish painter for whom there is verifiable extant work. As with many Renaissance female painters, she was the daughter of a painter, Jan Sanders van Hemessen (c. 1500-after 1563), who was likely her teacher. She went on to create portraits of wealthy men and women often posed against a dark background. Included in her body of work is a self-portrait done in Basel. She has inscribed the painting with the year, 1548, and her age, 20 years. Her success is marked by her good standing in the Guild of St. Luke and her eventual position as teacher to three male students. Van Hemessen gained an important patron in the 1540s, Maria of Austria, who served as regent of the Low Countries for her brother Charles V. In 1554, she married Christian (or Christien) de Morien, an organist at the Antwerp Cathedral, which was at that time an important post. In 1556, when Maria resigned her post and returned to Spain, Caterina and her husband also moved, on invitation of her patron, to Spain. And two years later, when Maria died, Caterina was given a sizeable pension for life. Caterina and her husband returned to Antwerp. She was mentioned in Guicciardini's Description of the Low Countries of 1567 as one of the living women artists. She died after 1587. She mainly created portraits characterized by realism. The sitters, often seated, were usually seen against a dark or neutral ground. This type of framing and setting made for an intimate portrait. There are no extant works from after 1554, which has led some historians to believe her artistic career might have ended after her marriage. Van Hemessen is often given the distinction of creating the first self-portrait of an artist, of either gender, depicted seated at an easel.
Ulrika Pasch
(10 July 1735 - 2 April 1796), also known as Ulla Pasch, was a Swedish painter and miniaturist. She was one of few female artists known in Scandinavia before the 19th century. She was a member of the Royal Swedish Academy of Arts (1773). Ulrika Pasch was born in an artistic family, daughter of the painter Lorens Pasch the Elder, and sister of the future painter Lorens Pasch the Younger. Her uncle, Johan Pasch, was also a painter. In the 1750s, when her brother was studying art abroad, her father's career declined severely, and Ulrika was forced to become a housekeeper in the home of her maternal aunt's widower. Her uncle however allowed her to spend a lot of time developing her artistic talent, and from 1756, she had become a professional portrait painter and was able to support her father and her sister in this way. After her father's death, she lived with her sister and set up her own studio. When her brother returned to Sweden in 1766, she had been a professional artist for ten years and her clientele had moved from the middle class to the upper classes and the aristocracy. Ulrika Pasch and her brother then worked together as professional artists, shared their studio and guided each other in their work; their collaboration was one of mutual respect and harmony, and she is known to have helped him painting the textiles and costumes, a work he found tiring. Their baby-sister Helena Sofia (1744-96) took care of their household; she is described as somewhat talented in art as well, but she spent her life as her siblings "dutiful" house-keeper, and is said to have been deeply devoted to especially Ulrika.
Sylvester Feodosiyevich Shchdrin
painted Terrace on the Seashore in 1828