Italian Rococo Era Painter, ca.1721-1780 Bernardo Bellotto (30 January 1720 ?C 17 October 1780) was an Italian urban landscape painter or vedutista, and printmaker in etching famous for his vedutes of European cities (Dresden, Vienna, Turin and Warsaw). He was the pupil and nephew of Canaletto and sometimes used the latter's illustrious name, signing himself as Bernardo Canaletto ?? fraudulently, according to some. Especially in Germany, paintings attributed to Canaletto may actually be by Bellotto rather than by his uncle; in Poland, they are by Bellotto, who is known there as "Canaletto". Bellotto's style was characterized by elaborate representation of architectural and natural vistas, and by the specific quality of each place's lighting. It is plausible that Bellotto, and other Venetian masters of vedute, may have used the camera obscura in order to achieve superior precision of urban views.  Related Paintings of BELLOTTO, Bernardo :. | Vienna, Panorama from Palais Kaunitz ffg | View of the Villa Cagnola at Gazzada near Varese | The Scuola of San Marco gh | The Kreuzkirche in Dresden | The Ruins of the Old Kreuzkirche in Dresden gfh |
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rudolph von alt
Rudolf Ritter von Alt (28 August 1812 in Vienna ?C 12 March 1905 in Vienna) was an Austrian landscape and architectural painter. Borne as Rudolf Alt, he could call himself von Alt and bear the title of a Ritter (knight) after he gained nobility in 1882. He was the son of the famous lithographer Jakob Alt (1789-1872). He studied at the Akademie der bildenden K??nste in Vienna. Hiking-trips through the Austrian Alps and northern Italy awoke a love for landscapes, and he painted with his brush using watercolors in a very realistic and detailed style. In 1833, inspired by a visit to Venice and neighbouring cities, he also made a number of architectural paintings. Alt demonstrated a remarkable talent for expressing certain peculiarities in nature. He managed to paint nature authentically by focusing on the different hues of sky, the colour-tone of the air and the vegetation. His later works came closer to Impressionism. His perspectives on architecture were interesting, and he often chose everyday objects to paint. The painting of interior-views also became one of his strong points, giving him attention in Vienna. He visited and worked for a while in Rome and Naples; after that he visited the lakes of Lombardy, then Galicia, Bohemia, Dalmatia, Bavaria and then returned multiple times to Italy. In 1863 he went to the Crimea to paint some views of an estate of the Empress, and in 1867 he went to Sicily. His younger brother Franz Alt, (b. 1821 in Vienna) was also a painter. Most of his paintings are held by various museums in Vienna. The Albertina in Vienna hosted a retrospective exhibition from September 2005 to January 2006.
Honore Daumier
1808-1879 French Honore Daumier Locations In some 40 years of political and social commentary Honore Daumier created an enormously rich and varied record of Parisian middle-class life in the form of nearly 4,000 lithographs, about 1,000 wood engravings, and several hundred drawings and paintings. In them the comic spirit of Moli??re comes to life once again. After having been the scourge of Louis Philippe and the July Monarchy (1830-1848), Daumier continued as a satirist of Louis Napoleon and the Second Empire (1851-1870). Poor himself, the artist sympathized with the struggling bourgeois and proletarian citizens of Paris. As a man of the left, he battled for the establishment of a republic, which finally came in 1870. Liberals have always applauded Daumier; some conservatives, however, have been inclined to consider him woolly-minded. Honore Daumier, born on Feb. 26, 1808, in Marseilles, was the son of a glazier. When Honore was 6, the family moved to Paris, where the elder Daumier hoped to win success as a poet. Honore grew up in a home in which humanistic concerns had some importance. A born draftsman and designer who was largely self-taught, he received some formal instruction from Alexandre Lenoir, one of Jacques Louis David students. An obscure artist named Ramelet taught Daumier the elements of the new, inexpensive, and popular technique of lithography. Daumier style is so much his own that it is not easy to disentangle influences from other artists. Rembrandt and Francisco Goya are usually mentioned, along with Peter Paul Rubens, the Venetian school, and photography.
GRAFF, Anton
Swiss-born German Painter, 1736-1813 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 Kenste 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 Kenste in Berlin, but he remained in Dresden. He often travelled to Leipzig, and in summer he frequently went to Teplitz