(30 May 1862 - 6 August 1905) was a Slovene painter and teacher. He was born in a peasant family in the small Carniolan village of Dolenčice near Škofja Loka in Austria-Hungary (today, in Slovenia). At first he studied art in Ljubljana under the supervision of Janez Wolf who introduced him to the style of the Nazarene movement. At the age of twenty he went to Vienna, where he attended the Akademie der bildenden K??nste. In 1884 he moved to Munich. Initially he attended the Munich Academy of Fine Arts, but in 1885 he left it in order to join the private painting school of Ludwig von Löfftz. In 1892, he established his own school which soon became known under the name of Azbe-Schule and became one of the most renowned painting schools for young artists in the Bavarian capital. Several famous painters, particularly those who arrived to Munich from Slavic countries, attended Ažbe's school, including Wassily Kandinsky, Alexej von Jawlensky, Rihard Jakopič and Nadežda Petrović.  Related Paintings of Anton Azbe :. | Isabella De Site | Boys laugh at woman | Retrato de la infanta Margarita | The War between deer | Apotheosis of Homer |
Related Artists:
Jan Steen
Dutch Baroque Era Painter, ca.1625-1679 Daily life was Jan Steen's main pictorial theme. Many of the genre scenes he portrayed are lively to the point of chaos and lustfulness, even so much that a Jan Steen household, meaning a messy scene, became a Dutch proverb (een huishouden van Jan Steen). Subtle hints in his paintings seem to suggest that Steen meant to warn the viewer rather than invite him to copy this behaviour. Many of Steen's paintings bear references to old Dutch proverbs or literature. He often used members of his family as models. Jan Steen painted also quite a few self-portraits, in which he showed no tendency of vanity. Steen did not shy from other themes: he painted historical, mythological and religious scenes, portraits, still lifes and natural scenes. His portraits of children are famous. He is also well known for his mastery of light and attention to detail, most notably in textiles. Steen was prolific, producing about 800 paintings, of which roughly 350 survive. Steen's work was valued much by contemporaries and as a result he was reasonably well paid for his work. He did not have any students, but his work proved a source of inspiration for many painters.
John Haberle
(1856-1933) was a 19th-century American painter in the trompe l'oeil (literally, "fool the eye") style. His still lifes of ordinary objects are painted in such a way that the painting can be mistaken for the objects themselves. He is considered one of the three major figuresetogether with William Harnett and John F. Petoepracticing this form of still life painting in the United States in the last quarter of the 19th century. Haberle was born in New Haven, Connecticut; his parents were Swiss immigrants. At the age of 14 he left school to apprentice with an engraver. He also worked for many years as an exhibit preparator for the Peabody Museum of Natural History at Yale University. His career as a painter began in 1887. His style is characterized by a meticulous rendering of two-dimensional objects. He is especially noted for his depictions of paper objects, including currency. Art historian Alfred Frankenstein has contrasted Haberle's work with that of his contemporaries: Peto is moved by the pathos of used-up things. Haberle is wry and wacky, full of bravado, self-congratulating virtuosity, and sly flamboyance. He works largely within an old tradition, that of the trompe l'oeil still life in painted line ... It is poles away from Harnett's sumptuosity, careful balances, and well-modeled volumes, and is equally far from Peto's sensitivity in matters of tone and hue. A Bachelor's Drawer (1890-94) is typical of his approach: various papers, including currency, postage stamps, photos, playing cards, tickets, and newspaper clippings, are shown affixed to an essentially planar surface. Other objectseeyeglasses, a comb, a pipe, matches, and so oneare shallow enough in volume so as not to spoil the illusion. Like Harnett, he was warned by the Secret Service to cease and desist painting paper money, but he continued to do so throughout his years of greatest productivity; examples include The Changes of Time (1888) and Can You Break a Five? (c. 1885). He painted other subjects such as Slate (c. 1895), a bin of peanuts in Fresh Roasted (1887), The Clay Pipe (1889), and the huge Grandma's Hearthstone (1890), in the collection of the Detroit Institute of Arts. By the turn of the century, problems with his eyes diminished Haberle's activity as an artist. Among his later works are paintings of flowers executed in a looser style, and in 1909 he painted his final trompe l'oeil, the large Night, in the collection of the New Britain Museum of American Art, New Britain, Connecticut. Haberle died in 1933.
Luis Egidio Melendez
(Naples, 1716-Madrid, 1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille.Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jose Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725.After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain. Between 1737 to 1742, Melendez worked as a part of a team of artist dedicated to copying van Loo's prototypes of royal portraits for the domestic and overseas market, but at least he had a foothold in the palace. He had his artistic sights on a distinguished career as a court painter.