Abraham Wuchters (1608 - 23 May 1682) was a Dutch-Danish painter and engraver. He was born in Antwerp but had most of his career in Denmark where he, along with Karel van Mander III, was the preferred painter of the Danish King, nobility and Bourgeoisie during his day, together they represent the main influence from the Dutch Golden Age on Danish Baroque art. Wuchters was born in Antwerp in 1608. He arrived in Denmark in 1638 and was, the following year, employed as sketching master at Sorø Academy. Around the same time, he was summoned to Copenhagen where he painted several portraits of King Christian IV. In 1645 he returned to Copenhagen Castle to portray the King's children, including lrik Christian Gyldenløve (c. 1645, Danish National Gallery) and Duke Frederik (III) (c. 1645, Amalienborg Palace). In two periods, between 1658 and 1662, he worked at the Royal Swedish Court in Stockholm where he portrayed Queen Consort Christina (1660, Uppsala University and 1661, Stockholm Castle), Charles X Gustav and Hedvig Eleonora. Back in Denmark, Wuchters was engaged by Frederick III, who had instituted Denmark as an absolute monarchy in 1660, with responsibility for the maintenance of his paintings. n 1671 the new king, Christian V, appointed him as official Painter to the Danish Coirt and in 1873 he was also made official Engraver to the Danish Court. It was, therefore, he alone who decided how the face of the absolutist King was to be represented.  Related Paintings of Abraham Wuchters :. | Mogens Frijs | Erik Pontoppidan den | Vitus Bering | Queen Sophie Amalie painted in | Erik Pontoppidan den Aldre |
Related Artists:
mattsleiderstam
Adolf Ludvig Stierneld, född den 1 september 1755 i Stockholm död den 31 juli 1835 på Gripsholm, var en svensk friherre, politiker, hovman och samlare av historiska dokument, vilken av senare historisk forskning avslöjats som en av Sveriges mest förslagna och produktiva dokumentförfalskare. Stierneld var son till Samuel Gustaf Stierneld, vilken var chef för Västmanlands regemente, och vilken lär ha antecknat sitt regemente bland den nyföddes faddrar. Sonen inskrevs även endast sex månader gammal som volontär i samma kår. Oaktat denna militärståtliga början hann sonen ej längre än till ryttmästare vid livregementet, vartill han utnämndes 1781. Inom hovet anställdes Stierneld som kammarherre hos drottning Sofia Magdalena 1778. Han kom dock snart på mindre vänlig fot med Gustav III och tillhörde vid 1786 och 1789 års riksdagar ledarna för oppositionen inom adelsståndet. När kungen beredde sig att genomföra sina envåldsplaner, hörde Stierneld till de motståndare som arresterades. Till följd av sina förbindelser med ryske ministern hade han åsamkat sig konungens synnerliga ovilja, och när de övriga arresterade frigavs, sändes Stierneld till Varbergs fästning, där han kvarhölls till 1790. Genom sitt 1790 ingångna giftermål med grevinnan Kristina Charlotta Gyldenstolpe, dotter till Gustav III:s gunstling Nils Philip Gyldenstolpe, kom Stierneld snart åter på mera vänlig fot med hovet och blev 1792 överkammarherre. Vid riksdagen 1800 sågs han också, i likhet med andra ur 1789 års opposition (Magnus Fredrik Brahe, Claes Axel Lewenhaupt med flera) i hovpartiets främsta led.
Jean Greuze
French 1725-1805 French painter and draughtsman. He was named an associate member of the Acad?mie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Sim?on Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Fran?ois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850,
Julius Lange
(1817 -1878 ) - Painter