1830-1897 Russia Artist  Related Paintings of A.K.Cabpacob :. | Landscape | Landscape | Early Spring | Landscape | Spindle tree Firn |
Related Artists:
Witold Pruszkowski
Polish Painter, 1846-1896 Polish painter and draughtsman. He spent his early years in Odessa and Kiev, subsequently living in France, in particular in Paris, where he studied under the Polish portrait painter Tadeusz Gorecki (1825-68), continuing (1868-71) at the Akademie der Kenste in Munich. In 1871 he moved to Krakew where he studied until 1875 under Jan Matejko at the School of Fine Arts. During ten years in Krakew he produced many striking portraits. In the portrait of Mrs Fedorowicz (1878; Krakew, N. Mus.) he achieved subtle effects of modelling by means of carefully differentiated tones and meticulously distributed light. The Realism of these portraits is subsumed into an advanced proto-Impressionist technique, on occasion using both small patches of distinct colour and broadly applied areas of impasto. Alongside such works, Pruszkowski produced paintings based on fantastic legends, fables and folk-tales. In these works one can trace influences going back to the artist's Munich period; but Pruszkowski's essentially Romantic vision translated his subjects into an entirely Polish context, as in Midsummer's Night (1875; Warsaw, N. Mus.) and Water Nymphs (1877; Krakew, N. Mus.). In 1882 Pruszkowski moved to the village of Mnikow outside Krakew, where he worked in the isolation he believed essential for creative activity. Contact with the country people, however, provided him with themes for his work; alongside his fantastic and legendary subjects he painted genre scenes of peasant life. He brought to his subjects a diversity of means of formal depiction, from the realistic to the near visionary. However, there are notable recurrent motifs, for example the image of the native willow, the symbolic haunt of spirits, as in Willow on Marshland (1892; Ledz, Mus. A.). The visionary element achieved its apogee in the pastel compositions from the last years of his life. In works such as Death of Ellenai (1892; Wroclaw, N. Mus.) the evanescent nature of forms is expressed through restrained colour schemes, generally tending towards silvery greyish azure or shades of pink.
Wynford Dewhurst
British, 1864-1941 Wynford Dewhurst was born in Manchester in 1864. He was educated at home by a private tutor and later at Mintholme College. Although he originally trained to enter the legal profession, he showed artistic flair and decided to pursue a career as a painter after some of his drawings were published in various journals. He gained his artistic training in France at the Ecole des Beaux-Arts, in Paris, where he was a pupil of the renowned French painter Jean-L??on Gerome. Despite his teacher Gerome rejection of the radical Impressionist movement in favour of a highly finished academic style (Gerome continued the development and conservation of French Neoclassicism), Dewhurst was heavily influenced by the Impressionists. It is well known that he first encountered Impressionism, to which he was instantly attracted, in the work of Emile Claus in the Maddocks Collection in Bradford. However his most important mentor would become Claude Monet. It was Monet to whom Dewhurst dedicated his pioneering account of French Impressionism, Impressionist Painting: its genesis and development, in 1904. This was the first important study of the French painters to be published in English. As well as helping to reintroduce British artists to this style of painting, Dewhurst book called attention to the French Impressionists debt to the British artists John Constable and J. M. W. Turner, claiming that the Impressionists simply developed their existing painterly techniques. According to Dewhurst, artists who, like himself, painted in an impressionist manner, were often sneered at for imitating a foreign style, and he was keen to justify their position. French artists simply developed a style which was British in its conception, he wrote, a view that was dismissed by some French painters - such as Pissarro - who revealed his national bias when he acknowledged Constable and Turner but identified instead French influences like Nicolas Poussin, Claude Lorrain, Jean-Baptiste-Sim??on Chardin and Jean-Baptiste-Camille Corot. The thesis that Dewhurst put forward in Impressionist Painting was controversial for it dealt with the debated question of whether Impressionism was French or British in origin. However, it found much support in Britain: Kevin McConkey informs us that Dewhurst theme was taken up by others as various as Clausen, John Rothenstein and Kenneth Clark Nevertheless, Dewhurst detailed biographical notices of the most prominent artists associated with the rise of impressionism in France...leave little to be desired from the historical point of view. It is worth noting that Impressionist Painting also included an entire chapter on female artists, since modernity is the note of Impressionism, and that movement was the very first artistic revolt in which women took part. Indeed, Dewhurst thanks the celebrated female painter Mary Cassatt (who worked within the Impressionist circle) for her assistance in the preface of his book.
Louis Buvelot
Swiss-born Australian Painter 1814-1888 was a Swiss-born landscape painter who emigrated to Australia in 1865 and influenced the Heidelberg School of painters. Buvelot was born in Morges, Vaud, Switzerland, second son of Francois Simeon Buvelot, postal official, and his wife Jeanne-Louise nee Heizer, a school teacher. Louis Buvelot worked under Marc-Louis Arland at Lausanne, and from around 1834 continued his studies at Paris with Camille Flers, a well-known landscape painter of the day. After a few months there he migrated to Bahia, Brazil where he worked on his uncle's coffee plantation. In October 1840 Buvelot moved to Rio de Janeiro and attracted the notice of the emperor Dom Pedro II, who bought some of his pictures and decorated him with the Order of the Rose. In November 1843 Buvelot married Marie-Felicite, nee Lalouette (born 1816). Buvelot returned to Switzerland in 1852 and in 1856 was awarded a silver medal for a picture exhibited at Berne.