Swedish Realist Painter, 1853-1919 Swedish painter, illustrator and printmaker. He came from a poor family and studied (1866-76) at the Konstakademi in Stockholm, supporting himself throughout this period. From 1871 to 1878 he contributed illustrations to the comic journal Kaspar and the Ny illustrerad tidning. From 1875, for several decades, he was a prolific book illustrator, his most renowned work in this field being his drawings for Föltskärns beröttelser ('The Barber-surgeon's tales'; pubd 1883-4) by Zacharius Topelius, and the Rococo-inspired watercolours for the Samlade skaldeförsök ('Collected attempts at poetry'; pubd 1884) by the 18th-century Swedish author Anna Maria Lenngren.  Related Paintings of Carl Larsson :. | esbjorn vid sitt agandes appeltrad-esbjorn unghink | bro paris | sjalvportratt 1918 | Frukost under stora bjorken | pa vikinggatag i dalom |
Related Artists:
William J.Glackens
March 13.1870-May 22.1938,American painter and illustrator. He graduated in 1889 from Central High School, Philadelphia, where he had known Albert C. Barnes, who later became a noted collector of modern art. He became a reporter-illustrator for the Philadelphia Record in 1891 and later for the Philadelphia Press. In 1892 he began to attend evening classes in drawing at the Pennsylvania Academy of Fine Arts, studying under Thomas Anshutz. In the same year he became a friend and follower of Robert Henri, who persuaded him to take up oil painting in 1894.
Jan Brueghel
1568-1625 Flemish Jan Brueghel Locations Jan Brueghel the Elder (b. 1568, Brussels - January 13th 1625, Antwerp) was a Flemish painter, son of Pieter Brueghel the Elder and father of Jan Brueghel the Younger. Nicknamed Velvet Brueghel, Flower Brueghel, and Paradise Brueghel, of which the latter two were derived from favored subjects, while the former may refer to the velveteen sheen of his colors or to his habit of wearing velvet. Bouquet, painted 1603. The Entry of the Animals Into Noah Ark, painted 1613.His father died in 1569, and then, following the death of his mother in 1578, Jan, along with his brother Pieter Brueghel the Younger (Hell Brueghel) and sister Marie, went to live with their grandmother Mayken Verhulst (widow of Pieter Coecke van Aelst). She was an artist in her own right, and according to Carel van Mander, possibly the first teacher of the two sons. The family moved to Antwerp sometime after 1578. He first applied himself to painting flowers and fruits, and afterwards acquired considerable reputation by his landscapes and sea-pieces. He formed a style more independent of his father than did his brother Pieter the Younger. His early works are often landscapes containing scenes from scripture, particularly forest landscapes betraying the influence of the master forest landscape-painter Gillis van Coninxloo. Later in his career, he moved toward the painting of pure landscapes and townscapes, and, toward the end, of still lifes. After residing long at Cologne he travelled into Italy, where his landscapes, adorned with small figures, were greatly admired. He left a large number of pictures, chiefly landscapes, which are executed with great skill.
SAENREDAM, Pieter Jansz
Dutch Baroque Era Painter, 1597-1665,Painter and draughtsman, son of Jan Saenredam. His paintings of churches and the old town halls in Haarlem, Utrecht and Amsterdam must have been appreciated by contemporary viewers principally as faithful representations of familiar and meaningful monuments. Yet they also reveal his exceptional sensitivity to aesthetic values; his paintings embody the most discriminating considerations of composition, colouring and craftsmanship. His oeuvre is comparatively small, the paintings numbering no more than 60, and each is obviously the product of careful calculation and many weeks of work. Their most striking features, unusual in the genre, are their light, closely valued tonalities and their restrained, restful and delicately balanced compositions. These pictures, always executed on smooth panels, are remarkable for their sense of harmony and, in some instances, serenity. Here, perhaps, lies a trace of filial fidelity to the Mannerist tradition of refinement and elegance, of lines never lacking in precision and grace. But Mannerist figures and the more comparable components of strap- and scrollwork embellishment lack the tension and clarity of Saenredam's designs, which also have a completeness reminiscent of the fugues of Gerrit Sweelinck (1566-?1628).