1718--93 Swedish painter and pastellist, active in Germany and France. He trained with Lars Ehrenbill (1697-1747), a draughtsman employed by the Admiralty in Malmö, and in Stockholm under Georg Engelhardt Schräder (1684-1750), a portrait painter working in the tradition of Hyacinthe Rigaud and Nicolas de Largillierre. In 1741 Roslin moved to Göteborg, but the following year he returned to Malmö, where he executed devotional works for the parish church of Hasslöv, Halland, and began establishing himself as a portrait painter.   Related Paintings of Alexander Roslin :. | The Jewish Fiddle player | Portrait of Ivan Betskoy | hertig karl | gustav | Portrait of I.I Betskoy |
Related Artists:
Abraham Jansz Van Diepenbeeck
1596-1675, Flemish glass-painter, draughtsman, painter and tapestry designer. His reputation rests primarily on his drawings and oil sketches, of which several hundred survive, intended mainly as designs for stained-glass windows and prints. He was strongly influenced by the work of other important Flemish artists of the late 16th century and early 17th, notably Rubens, whose motifs and stylistic elements he frequently reworked in his own compositions.
Willim Henry Fox Talbot
British, 1800-1877
Johann Michael Rottmayr
Austrian,1654-1730 Austrian painter and draughtsman. He is most notable for large-scale religious and secular decorative schemes, and his career heralded the important 18th-century German contribution to late Baroque and Rococo fresco painting. He was probably taught by his mother, who was a painter of wooden sculpture. Between 1675 and 1687-8 he was in Venice as a pupil and assistant of the Munich artist Johann Carl Loth, whose studio attracted many painters from Austria and southern Germany. It is possible that Rottmayr also visited other Italian cities, in particular Bologna and Rome. He returned to Salzburg in the late 1680s a mature painter and immediately received commissions for panels and frescoes. In 1689 he painted mythological scenes for the Karabinierisaal at the Residenz in Salzburg (in situ); in composition and style these are close to high Baroque models, particularly the work of Pietro da Cortona and Peter Paul Rubens. Such models, as well as the example of Loth, and Venetian painting, had an important influence on Rottmayr's panel paintings of this period, for example the Sacrifice of Iphigenia (c. 1691; Vienna, Belvedere) or St Agnes (1693-5) and St Sebastian (1694; both Passau, Cathedral). In these, the solidity of the figures is emphasized through the use of intense colours. For Rottmayr, however, the rational development of the figures and the composition was less important than the overall effect achieved by the use of colour. Incorrect details of anatomy and perspective found compensation in greater expressiveness, mainly conveyed by gesture and pose. Rottmayr's images are filled with plastic elements, creating a staccato effect. Several very important early commissions paved the way for Rottmayr's move to Vienna in the late 1690s.