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 :. | Mumps Etching | i blasten-ett vindkast-stina | ur sveriges konsthistoria | Study of a Girl wtih Pail and Broom | troskningen |
Related Artists:
Dvid Beck

ASAM, Egid Quirin
German Baroque Era Sculptor, 1692-1750 Sculptor, stuccoist, painter and architect, son of Hans Georg Asam. After working with his father, he was apprenticed to Anton Faistenberger in Munich to learn sculpture. He presumably accompanied his brother Cosmas Damian Asam to Rome (1711-13), where he studied works by Bernini. In 1724 he became a valet and court stuccoist to the Prince-Bishop of Freising and in 1730 a valet to the Elector of Bavaria.
Conrad Witz
1400-1446 German (Resident in Switzerland) Conrad Witz Gallery -6). German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art, while Witz pure tempera technique differs emphatically from the refined use of oil glazes that endows Netherlandish pictures with their jewel-like brilliance.