1736-1813 Swiss Anton Graff Gallery Swiss painter, active in Germany. He was a pupil of Johann Ulrich Schellenburg (1709-95) in Winterthur and continued his training with Johann Jakob Haid in Augsburg between 1756 and 1765. He worked for the court painter Leonhard Schneider (1716-62) in Ansbach from 1757 to 1759, producing large numbers of copies of a portrait of Frederick the Great (probably by Antoine Pesne). This was an important step in furthering his career, as were the months he spent in Regensburg (1764-5) painting miniatures of clerics and town councillors. He was court painter to the Elector Frederick-Christian of Saxe-Weimar in Dresden from 1766 and taught at the Hochschule der Bildende K?nste there. In 1771 he travelled to Berlin, where he painted portraits of Jakob Mendelssohn, Gotthold Ephraim Lessing and J. G. Sulzer. Sulzer introduced him at court, which resulted in many commissions. He was invited several times to teach at the Akademie der K?nste in Berlin, but he remained in Dresden. He often travelled to Leipzig, and in summer he frequently went to Teplitz (now Teplice, Czech Republic) and Karlsbad (now Karlovy Vary, Czech Republic); he also worked in Berlin on several occasions and returned to Switzerland for visits.  Related Paintings of Anton Graff :. | Portrait of Judith Gessner | Bildnis eines Mannes | The Artist's Family before the Portrait of Johann Georg Sulzer | Artists family before the portrait of Johann Georg Sulzer | Portrat des Erbprinzen Heinrich XIII |
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Louis-Philippe Crepin
(1772-1851) was a French naval painter, one of the first Peintres de la Marine. Crepin was notably a pupil of Joseph Vernet and Hubert Robert. His Combat de la Bayonnaise contre l'Ambuscade, 1798, depicting the Action of 14 December 1798, is one of the main exhibits of the Musee national de la Marine.
Aristide Maillol
1861-1944 Banyuls-sur-Mer,was a French Catalan sculptor and painter. Maillol was born in Banyuls-sur-Mer, Roussillon. He decided at an early age to become a painter, and moved to Paris in 1881 to study art. After several applications, his enrollment in the Ecole des Beaux-Arts was accepted in 1885, and he studied there under Jean-Leon Gerome and Alexandre Cabanel. His early paintings show the influence of his contemporaries Pierre Puvis de Chavannes and Paul Gauguin. Gauguin encouraged his growing interest in decorative art, an interest that led Maillol to take up tapestry design. In 1893 Maillol opened a tapestry workshop in Banyuls, producing works whose high technical and esthetic quality gained him recognition for renewing this art form in France. He began making small terra cotta sculptures in 1895, and within a few years his concentration on sculpture led to the abandonment of his work in tapestry. The subject of nearly all of Maillol's mature work is the naked female body, treated with a classical emphasis on stable forms. The figurative style of his large bronzes is perceived as an important precursor to the greater simplifications of Henry Moore and Alberto Giacometti, and his serene classicism set a standard for European (and American) figure sculpture until the end of World War II. His important public commissions include a 1912 commission for a monument to Cezanne, as well as numerous war memorials commissioned after World War I. He died in Banyuls at the age of eighty-three, in an automobile accident.
BLONDEEL, Lanceloot
Flemish Northern Renaissance Painter, 1498-1561 South Netherlandish painter, draughtsman, designer, architect, civil engineer, cartographer and engraver. He is said to have trained as a bricklayer, and the trowel he used to add as his housemark next to his monogram LAB testifies to this and to his pretensions as an architectural designer. In 1519 he was registered as a master painter in the Bruges Guild of St Luke, where he chose as his speciality painting on canvas. The following year he collaborated with the little-known painter Willem Cornu in designing and executing 12 scenes for the Triumphal Entry of Emperor Charles V into Bruges. From then onwards Blondeel received regular commissions, mainly as a designer and organizer. Records of legal actions show that he was sometimes late with commissions; he took seven years to execute a Last Judgement ordered in 1540 for the council chamber at Blankenberge, and in 1545 the Guild of St Luke summoned him for his failure to supply their guild banner on time. Blondeel was married to Kathelyne, sister of the wood-carver Michiel Scerrier; of the two daughters of this marriage, the eldest, Maria, married the tapestry-weaver Andries Hansins before 1542 and the younger, Anna, married Blondeel's pupil, the painter Pieter Pourbus, before 1545.