American Hudson River School Painter , 1832-1920 was an American painter, interior designer, and writer, probably best remembered for his paintings of the Hudson River. Born in Portland, Maine, Colman moved to New York City with his family as a child. His father opened a bookstore, attracting a literate clientele that may have influenced Colman's artistic development. He is believed to have studied briefly under the Hudson River school painter Asher Durand, and he exhibited his first work at the National Academy of Design in 1850. By 1854 he had opened his own New York City studio. The following year he was elected an associate member of the National Academy, with full membership bestowed in 1862. His landscape paintings in the 1850s and 1860s were influenced by the Hudson River school, an example being Meadows and Wildflowers at Conway (1856) now in the collection of the Frances Lehman Loeb Art Center at Vassar College. He was also able to paint in a romantic style, which had become more fashionable after the Civil War. One of his best-known works, and one of the iconic images of Hudson River School art, is his Storm King on the Hudson (1866), now in the collection of the Smithsonian American Art Museum in Washington, DC. Colman was an inveterate traveler, and many of his works depict scenes from foreign cities and ports. He made his first trip abroad to France and Spain in 1860-1861, and returned for a more extensive four-year European tour in the early 1870s in which he spent much time in Mediterranean locales.   Related Paintings of Colman Samuel :. | St Alberto fo Trapani | Madonna (mk12) | Man universe,manipulator | The Widow | The Prince Royal and other shipping in an Estuary |
Related Artists:
Bernard Hall
Artist, teacher, Director of Melbourne??s National Gallery and Felton Bequest advisor English-born Australian, 1859-1935 was an English-born Australian artist. Hall was born at Liverpool, England. The son of a Liverpool broker of the same family as Captain Basil Hall, writer of books of travel, he was well educated and grew up in an atmosphere of culture. He studied painting at South Kensington, Antwerp and Munich, and worked for some to years in London. He exhibited at the Royal Academy and was one of the original members of the New English Art Club. On the death of George Frederick Folingsby in 1891 he was appointed director of the National Gallery of Victoria at Melbourne, and began his duties in March 1892. He held the position for 43 years aria many of the well-known painters of Australia were trained by him in the gallery painting school. He also acted as adviser to the trustees for purchases for the gallery and art museum, and when the munificent bequest of Alfred Felton was received his responsibilities were much increased. In 1905 he went to England to make purchases under this bequest, and although the amount then placed in his hands was comparatively small, he made better use of what was available than any subsequent adviser of his time. After his return he was expected to advise on everything submitted that might find a place in an art museum and, although he never claimed to be an expert in all these things, he supplemented his knowledge with hard reading and made cornparatively few mistakes. Hall's own paintings were usually interiors, nudes, or paintings of still life. He was often represented at the Victorian Artists' and other societies' exhibitions and held several one-man shows, but he was kept so busily employed as director and adviser, that his paintings had to be done at week ends and during vacations. In February 1934 he again went to London as adviser to the Felton trustees and died there on 14 February 1935. He was married twice in 1894 to Miss E. M. Shuter and in 1912 to Miss G. H. Thomson, who with one son by the first marriage and two sons and a daughter by the second marriage, survived him. Hall was a tall man of distinguished appearance, courteous but slightly austere in manner, with strong convictions, and little sense of compromise. He was extremely conservative in almost everything from his art to his politics.
Salvatore Postiglione
painted Pier Damiano e la contessa Adelaide di Savoia in 1887
Henri Leys
(18 February 1815 - 26 August 1869), also known as Henri Leys, was a Belgian painter and printmaker. Henri Leys was born and died in Antwerp. He studied with Mathieu Ignace Van Bree (1773-1839) at the Koninklijke Academie voor Schone Kunsten in Antwerp and then with his brother-in-law Ferdinand De Braekeleer (1792-1883). At the start of his career, he worked with the Belgian Romantic painter Egide Charles Gustave Wappers (1803-1874). Both artists were interested in nationalistic subjects painted in styles that owe much to the example of 16th- and 17th-century Flemish painting. In 1835 Leys went to Paris where he visited the studio of Eugene Delacroix and met Paul Delaroche. During the 1840s, Leys began painting scenes set in 16th-century Antwerp, combining details studied from life with a deliberately archaizing style reminiscent of 16th-century German painters like Albrecht Derer and Quinten Matsys. Some of the pictures have specific historical subjects, but others are genre scenes. With these pictures, he earned a following among many younger artists in Belgium as well as a considerable reputation in France, where he won a gold medal at the International Exhibition in Paris in 1855 for his historical painting The Mass of Berthal de Haze (Royal Museum of Fine Arts, Brussels). In 1862 Leys was created a baron by King Leopold I. At the time of his death, he was engaged in decorating the interior of the Antwerp Town Hall with monumental frescoes depicting the city's history (1863-9). There are easel replicas of these in Brussels. Among the artists who studied with him are James Tissot and Sir Lawrence Alma-Tadema. His best-known pupil is his nephew Henri De Braekeleer (1840-1888).