German Painter, 1808-1885 German painter. He trained (1825-8), at his father's insistence, as a pharmacist, by 1829 becoming manager of a pharmacy in the Straubing district of Munich. From 1830 to 1832 he made advanced studies in pharmacy, botany and chemistry at the University of Munich, passing his final examination with distinction. On receiving a large legacy in 1833, which made him financially independent, he decided to become a painter. He had drawn since the age of 15 and had frequented artistic circles since the late 1820s; but he had no professional training as a painter. He learnt much from contacts with young Munich landscape painters such as Eduard Schleich the elder and produced his first oil paintings in 1834. In 1835 he became a member of the Munich Kunstverein but left two years later due to disappointment over the reception of the first version of the Poor Poet (1837; Munich, Neue Pin.; second version 1839; Berlin, Neue N.G.), a scene of gently humorous pathos that has since become his most celebrated work. Spitzweg's decision to leave the Kunstverein, however, was also encouraged by his first successful attempts to sell his paintings independently. In 1839 he travelled to Dalmatia, where he made sketches that he used for many later works on Turkish themes (e.g. the Turkish Coffee House, c. 1860; Munich, Schack-Gal.). From the 1840s he travelled regularly, usually with his close friend, the painter Schleich, both within Bavaria and to Austria and Switzerland and also to the Adriatic coast, especially to Trieste.  Related Paintings of Carl Spitzweg :. | Hermit playing the violin | Die Jugendfreunde | Wo ist der Pass | Der Mineraloge in der Grotte | the bookworm |
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Jean Greuze
French 1725-1805 French painter and draughtsman. He was named an associate member of the Acad?mie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Sim?on Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Fran?ois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850,
Jacob Philipp Hackert
(September 15, 1737 - April 28, 1807) was a landscape painter from Brandenburg, who did most of his work in Italy. Hackert was born in 1737 in Prenzlau in the Margraviate of Brandenburg (now in Germany). He trained with his father Philipp (a portraitist and painter of animals) and his uncle, before going to the Akademie der Kenste in Berlin in 1758. Later he traveled to Swedish Pomerania and Stockholm, where he painted murals. He spent from 1765 to 1768 in Paris, with the Swiss Artist, Balthasar Anton Dunker, where he focused on painting in gouache. He met and was inspired by Claude Joseph Vernet, who was already famous as a painter of landscapes and seascapes, and the German engraver Johann Georg Wille. In 1768 Hackert left Paris with his brother Georg, and went to Italy, basing himself mainly in Rome and Naples, where he produced many works for Sir William Hamilton. He travelled all over Italy, gaining a reputation as a talented landscape painter. In 1786 he went to work for Ferdinand I of the Two Sicilies in Naples. He advised on the creation of a painting restoration laboratory at the Museo di Capodimonte, and supervised the transfer of the Farnese collections from Rome to Naples. By this time he had an international reputation, and won commissions from empress Catherine II of Russia, king Louis XVI of France and others. When Goethe visited Naples in 1786, he and Hackert became friends.
Niccolo Bambini
(1651-1736) was an Italian painter of the late-Renaissance and early-Baroque periods. He was born in Venice, and first studied under Giulio Mazzoni at Venice; but afterwards went to Rome, where he became a pupil of Carlo Maratti. He painted for the church of San Stefano soon after his return from Rome. He died in Venice. He had two sons who were painters, Giovanni and Stefano.