(September 29, 1815 - April 1, 1910) was a German landscape painter. Born at Kassel, he began his art education in 1827 in Desseldorf under Friedrich Wilhelm Schadow at the Desseldorf Academy of Painting. He studied at St Petersburg and travelled in Italy, Holland and Scandinavia.In his early work he followed the pseudo-idealism of the German romantic school, but on removing to Munich in 1835, the stronger influence of Louis Gurlitt turned his talent into new channels, and he became the founder of the German realistic school. Although his landscapes evince too much of his aim at picture-making and lack personal temperament, he is a master of technique, and is historically important as a reformer. The Chambers Biographical Dictionary says of him that "he was regarded as the father of 19th century German landscape painting." A number of his finest works are to be found at the Berlin National Gallery, the New Pinakothek in Munich, and the galleries at Dresden, Darmstadt, Cologne, Desseldorf, Leipzig and Hamburg. He died in Desseldorf. His brother, Oswald Achenbach (1827-1905), was also a painter.   Related Paintings of Andreas Achenbach :. | Paesaggio italiano | Material and Dimensions | Material and Dimensions | Die alte Akademie in Dusseldorf | Ufer des zugefrorenen Meeres |
Related Artists:
William Barak
Australian Aboriginal, ca.1824-1903 was the last traditional ngurungaeta (elder) of the Wurundjeri-willam clan, based around the area of present-day Melbourne, Australia. He became an influential spokesman for Aboriginal social justice and an important informant on Wurundjeri cultural lore. Barak was born in the early 1820s at Brushy Creek near present-day Croydon, in the country of the Wurundjeri people. His mother, Tooterrie, came from the Nourailum bulluk at Murchison, Victoria. His father, Bebejern, was an important member of the Wurundjeri clan. Beruk was said to have been present when John Batman met with the tribal elders to 'purchase' the Melbourne area in 1835. Before he died he described witnessing the signing of the treaty in a ceremony he called a tanderem. Ninggalobin, Poleorong and Billibellary were the leading song makers and principal Wurundjeri leaders in the Melbourne region. European colonisation had caused disruptions to initiation ceremonies. In response these three men gathered at South Yarra in the late 1830s and inducted the young William Barak into Aboriginal lore. This entailed formally presenting Barak with the symbols of manhood: strips of possumskin tied around his biceps; the gombert around his neck; given his ilbi-jerri, a sharp and narrow bone or nose-peg; and his branjep, the apron worn by men to cover their genitals. At the end of the ceremony Barack presented his uncle, Billibellary, a possumskin cloak. Beruk attended the government's Yarra Mission School from 1837 to 1839. When he joined the Native Mounted Police in 1844, he was given the name of William Barak. He was Police Trooper No.19. In early 1863, Barak moved to Coranderrk Station, near Healesville, Victoria with about thirty others. Upon the death of Simon Wonga in 1875, Barak became the Ngurungaeta of the clan. He worked tirelessly for his people and was a successful negotiator on their behalf. He was a highly respected man and leader, with standing amongst the Indigenous people and the European settlers. Figures in possum-skin cloaks, 1898 by William Barak.Barak is now best remembered for his artworks, which show both traditional Indigenous life and encounters with Europeans. Most of Barak's drawings were completed at Coranderrk during the 1880s and 1890s. They are now highly prized and exhibited in leading public galleries in Australia. His work is on permanent display in the National Gallery of Victoria Ian Potter Centre at Federation Square, Melbourne. Ceremony (1895) is housed at the Ballarat Fine Art Gallery. Barak died at Coranderrk in 1903 and is buried at the Coranderrk cemetery.
Joannes Fijt
(15 March 1611 - 11 September 1661) was a Flemish Baroque animal painter and etcher. Fyt was born in Antwerp, where he was baptized on 15 June 1611, he was registered in 1621 as apprentice to Hans van den Berghe, who was a restorer of old pictures rather than a painter of new ones. Fyt then trained with Frans Snyders between about 1629-31, during which time, at the age of twenty, he entered the guild of St Luke as a master. From then until his death in 1661, he produced a vast number of paintings in which the bold facility of Frans Snyders is united to the powerful effects of Rembrandt, and harmonies of gorgeous tone are not less conspicuous than freedom of touch and a true semblance of nature. He left Antwerp for Paris in 1633, travelling on to Italy the following year, where he worked in Venice and probably visited Rome (as he later joined the Guild of Romanists back in Antwerp). By 1641 he was back in Antwerp, where he married in 1654. Hunting trophiesFyt excelled in the rendering of animal life in its most varied forms. He may have been less correct in outline, less bold in action than Snyders, but he was much more skilful and more true in the reproduction of the coat of deer, dogs, greyhounds, hares and monkeys, whilst in realizing the plumage of peacocks, woodcocks, ducks, hawks, and cocks and hens, he had no equal, nor was any artist even of the Dutch school more effective in relieving his compositions with accessories of tinted cloth, porcelain ware, vases and fruit. He was not clever at figures, and he sometimes trusted for these to the co-operation of Cornelius Schut or Thomas Willeboirts Bosschaert, whilst his architectural backgrounds were sometimes executed by Quellyn. Silenus amongst Fruit and Flowers, in the Harrach collection at Vienna, Diana and her Nymphs with the Produce of the Chase, in the Belvedere at Vienna, and Dead Game and Fruit in front of a Triumphal Arch, belonging to Baron von Rothschild at Vienna, are specimens of the co-operation respectively of Schut, Willeborts and Quellyn. They are also Fyt's masterpieces. The earliest dated work of the master is a cat grabbing at a piece of dead poultry near a hare and birds, belonging to Baron Cetto at Munich, and executed in 1644. The latest is a Dead Snipe with Ducks, of 1660, sold with the Jäger collection at Cologne in 1871. Great power is shown in the bear and boar hunts at Munich and Ravensworth castle. A Hunted Roedeer with Dogs in the Water, in the Berlin Museum, has some of the life and more of the roughness of Snyders, but lacks variety of tint and finish. A splendid specimen is the Page and Parrot near a table covered with game, guarded by a dog staring at a monkey, in the Wallace collection. With the needle and the brush Fyt was equally clever. He etched 16 plates, and those representing dogs are of their kind unique.
George Richmond
English Painter, 1809-1896 Painter, draughtsman and engraver. He was a precocious draughtsman. In 1824 he entered the Royal Academy, London, the same year as Edward Calvert, who was a part-time student of Joseph Severn. Richmond first exhibited at the Academy in 1825 and that year met William Blake in the Highgate house of John Linnell (ii). Like his lifelong friend Samuel Palmer, Richmond fell under Blake's spell, comparing him to the Prophet Isaiah and forming close friendships with Blake's other disciples, including Calvert. He visited Palmer at Shoreham, chiefly in the summer of 1827, and both he and Calvert became prominent members of Palmer's band of ANCIENTS, who frequented the Kent village in the late 1820s and early 1830s. The tempera panel Abel the Shepherd (1826; London, Tate) is typical of Richmond's early paintings, which reflect the pronounced influence of both Blake and Palmer. They are painted in an archaic style and include Christian and literary themes and high-minded if obscure genre subjects such as the Eve of Separation (1830; Oxford, Ashmolean). The human figure was central to these pictures as it was not for Palmer, who expressed sentiment through landscape motifs. Richmond was also active as a draughtsman and miniaturist during this period; his Christ-like head of Palmer, in watercolour and gouache on vellum (London, N.P.G.), dates from 1829.