1834-1906,Swedish painter. He received some tuition in drawing at the Royal Academy of Arts in Stockholm, although he was never formally enrolled as a student. In 1857 he went to D?sseldorf where he was a student of Hans Fredrik Gude. Swedish Landscape, Kolm?rden (1866; Stockholm, Nmus.) is representative of Wahlberg's D?sseldorf period. After a journey to the Netherlands and Belgium he returned to Stockholm in 1862 and became a member of the circle of artists around Karl XV.   Related Paintings of Alfred Wahlberg :. | Landscape stamp Vaxholm | Vallflickans vilostund | Moonlight, Fjallbacka | Vallflickans vilostund | Szef kaukaski |
Related Artists:
Gottlieb Schick
romanticism artist. German, 1776-1812 German painter. He trained at the H?he Karlsschule in Stuttgart (1795-7) under the classically-orientated painter Philipp Friedrich von Hetsch (1758-1839), a pupil of David. Schick also took private lessons (1797-8) with the sculptor Johann Heinrich von Dannecker. From 1799 to 1802 Schick studied in Paris under David, and he soon became one of David's favourite students. He made two unsuccessful attempts to win the Prix de Rome with compositions that derived from the style of David. However, greater independence is seen in his life-size painting Eve (1800; Cologne, Wallraf-Richartz-Mus.), a magnificent allegory of Beauty synthesizing a classically-orientated reinterpretation of ancient art and a proto-Romantic interpretation of biblical subject-matter, inspired by Milton's Paradise Lost. As Schick himself stated (letter to Dannecker, 10 July 1800), he had tried to emulate both the Medici Venus and the female figures of Raphael. In 1802, on a pension from Frederick II, Duke of Werttemburg, Schick moved to Rome and for almost a decade played a leading role in Roman artistic life. His friendship with Joseph Anton Koch led to mutual influence in the work of the two artists. Koch was indebted to Schick for invaluable hints on oil painting and for choice of subjects. For a fortnight in July 1805, Schick exhibited in the Pantheon his large oil painting The Sacrifice of Noah (2.50*3.27 m, 1804; Stuttgart, Staatsgal.). The work was inspired by Raphael's Old Testament frescoes in the Vatican Loggie; and it brought Schick enormous success. Despite financial hardship, Schick continued to work indefatigably, and without waiting for commissions, on a wide variety of projects. These included biblical and mythological subjects as well as portraits. Between 1806 and 1808 he completed his Apollo among the Shepherds (Stuttgart, Staatsgal.), a subject he had attempted while still in Paris and then again in Rome in 1805. The second Rome version had clearly gained through Schick's concentrated thought over a period of several years, and the result represented an avowal of faith both in the artist's own gifts and in German Classicism.
Roussel Charles
French , 1861-1836
BRAY, Salomon de
Dutch Baroque Era Painter, 1597-1664 De Bray established himself in Haarlem before 1617, where he is supposed to have been taught by Hendrick Goltzius and Cornelis van Haarlem, and where he married in 1625. He painted history paintings, portraits and landscapes. As a Catholic he probably also made altar pieces for clandestine churches. He cooperated in the decoration of Huis ten Bosch in The Hague. His works draw on the spirit of the Dutch classicism beginning at that time, and are comparable with those of Pieter de Grebber. De Bray was also active as a designer of silverwork, as a poet, as an architect and as a town planner. As an architect, he was involved in the construction or expansion of Haarlem's City Hall, Zijlpoort, and St. Annakerk (Church of St. Anne), and Nijmegen's city orphanage. One of his poems was set to music by his friend the composer Cornelis Padbru??. Salomon de Bray was the father of ten children, of whom three (including Jan de Bray) became artists. He probably died of the plague, as some of his children and was buried in the Sint-Bavokerk in Haarlem.