(22 May 1814 in Stockholm, died 27 December 1891 in Stockholm, was a Swedish artist and painter, from 1856 a member of the Royal Swedish Academy of Arts. At the age of three, she was left an orphan after her mothers death and adopted by the widow of her alleged biological father, Benjamin Sandel. Her position as a child was somewhat humiliating, as a form of charity object for the upper classes, and in her later work, her paintings of sad little girls is believed to be inspired by her childhood. Her drawings made the artist and art teacher Carl Gustaf Qvarnström include her as one of the four women accepted as students at the academy in 1849, and in 1850, she became the first woman given an art scholarship from the academy to study art in Paris, which she did at the studies of Coignet and Tissier; she also studied in D??sseldorf and Menich before she returned to Sweden in 1856, were she was elected to the academy  Related Paintings of Amalia Lindegren :. | Margaret Lindsay of Evelick | A beef | Paul and Barnabas at Lystra | comte de Provence | Josefinas arrival to Sweden |
Related Artists:
Ion Georgescu
1856-1898
Antoine Vestier
(1740 - 1824) was a French miniaturist and painter of portraits, born at Avallon in Burgundy, who trained in the atelier of Jean-Baptiste Pierre. He showed his work at the Salon de la Correspondance, Paris, before being admitted to the Academie Royale de Peinture et de Sculpture in 1785, when a portrait of the painter Gabriel-François Doyen, pwas his morceau de reception. Among his sitters was the royal beniste, Jean-Henri Riesener (1786, Musee de Versailles).
Floris Verster
1861-1927 Dutch Floris Verster Gallery Dutch painter. He trained first at the Ars Aemula Naturae school in Leiden under George Hendrik Breitner, then at The Hague Academie (1879-82) and the Brussels Academie (1882). In Leiden in 1882 he started painting landscapes in the style of the Hague school. From 1882 to 1892 he shared a studio in Leiden with the still-life painter Menso Kamerlingh Onnes (1860-1925), who was to become his brother-in-law. Influenced by Onnes and such French realists as Antoine Vollon and Theodule Ribot, in 1885 he turned to painting still-lifes in a mildly Impressionist style that by 1888-9 often attained monumental formats, as in Peonies (1.35*2.00 m, 1889; Amsterdam, Stedel. Mus.). He submitted some of these to exhibitions, where their reception was mixed; artists including Breitner, H. W. Mesdag and Jacob Maris were enthusiastic, but the critics quite often were not. He participated in a few exhibitions abroad, notably from 1890 to 1894 in Munich and in 1891 with Les XX in Brussels.