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 :. | Ceramics Pen and ink drawing | esbjorn med den har skall jag fiska och med den har skall jag valla korna | tradgardsbild | Model Standing | korsbarsblom-kvinna i landskap |
Related Artists:
VELDE, Esaias van de
Dutch painter (b. ca. 1591, Amsterdam, d. 1630, Den Haag).
Brocky, Karoly
1807-1855
Meunier, Constantin
Belgian Painter and Sculptor, 1831-1905 Belgian sculptor, painter and draughtsman. He was directed towards an artistic career by his elder brother, the engraver Jean-Baptiste Meunier (1821-1900). He entered the Acad?mie des Beaux-Arts, Brussels, in September 1845 and studied under the sculptor Louis Jehotte (1804-84) from 1848. In addition, in 1852 he attended the private studio of the sculptor Charles-Auguste Fraikin. Gradually he came to feel that sculpture, at least in the traditional form taught in Brussels, was incapable of providing an adequate vehicle for either exposition or expression. Still at the Academy, he transferred to painting, therefore, in 1853, and followed the courses given by Fran?ois-Joseph Navez, studying in the evenings at the Saint-Luc studio, with Charles De Groux. He became friends with Louis Dubois, F?licien Rops and other rebellious young artists who were to found the Soci?t? Libre des Beaux-Arts in Brussels in 1868. With these, Meunier was part of the realist avant-garde, while seeking out a path of his own in painting. It has been said that De Groux had a decisive influence on Meunier. The latter partly denied this and insisted that he had felt the need very early to practise an art that was more devoted to the masses, to the people. His interest in everyday life, in the experience and condition of man, can already be discerned in the sketches and studies he made during his stays in the Trappist monastery of Westmalle, near Antwerp, between 1857 and 1875.