1826-1900 American painter. He was a leading representative of the second generation of the HUDSON RIVER SCHOOL, who made an important contribution to American landscape painting in the 1850s and 1860s. The son of a wealthy and prominent businessman, he studied briefly in Hartford with two local artists, Alexander Hamilton Emmons (1816-84) and Benjamin Hutchins Coe (1799-1883). Thanks to the influence of the Hartford patron DANIEL WADSWORTH, in 1844 he became the first pupil accepted by Thomas Cole.   Related Paintings of Frederic E.Church :. | Aurora Borealis | Cloudy Skies | Rain Forest,jamaica,West Indies | Christian on the Borders of the Valley of the Shadow of Death Pilgrim s Progress | Rainy Season in the Tropics |
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Claude Joseph Vernet
Claude-Joseph Vernet (14 August 1714 - 3 December 1789) was a French painter. His son, Antoine Charles Horace Vernet, was also a painter. Vernet was born in Avignon. When only fourteen years of age he aided his father, Antoine Vernet (1689-1753),[1] a skilled decorative painter, in the most important parts of his work. The panels of sedan chairs, however, could not satisfy his ambition, and Vernet started for Rome. The sight of the sea at Marseilles and his voyage thence to Civitavecchia (Papal States' main port on the Tyrrhenian Sea) made a deep impression on him, and immediately after his arrival he entered the studio of a marine painter, Bernardino Fergioni. Slowly Vernet attracted notice in the artistic milieu of Rome. With a certain conventionality in design, proper to his day, he allied the results of constant and honest observation of natural effects of atmosphere, which he rendered with unusual pictorial art. Perhaps no painter of landscapes or sea-pieces has ever made the human figure so completely a part of the scene depicted or so important a factor in his design. In this respect he was heavily influenced by Giovanni Paolo Panini, whom he probably met and worked with in Rome. Vernet's work draws on natural themes, but in a way that is neither sentimental or emotive. The overall effect of his style is wholly decorative.[2] "Others may know better", he said, with just pride, "how to paint the sky, the earth, the ocean; no one knows better than I how to paint a picture". His style remained relatively static throughout his life. His works' attentiveness to atmospheric effects is combined with a sense of harmony that is reminiscent of Claude Lorrain.
Pieter de Molijn
(6 April 1595 - 23 March 1661) was a Dutch Golden Age painter and engraver born in England. He was baptized in the Dutch Reformed Austin Friars church in London. Little is known of his early training, but he probably traveled to Italy and in 1616 he became a member of the Haarlem Guild of St. Luke. He was a contemporary of Jacob Pinas. He married Geertuyt Huygen de Bie. During the years 1616-1627 he lived in Delft where he remarried after his first wife died. In the marriage notice, his wife Geertruyt de Roovere is from Amsterdam and he is from Delft. De Molijn was possibly a student of Esaias van de Velde. He taught several students, including Gerard ter Borch, Jan Coelenbier, Allart van Everdingen, Christian de Hulst, Anthony Molijn, Jan Nose and Jan Wils.De Molijn was known for his landscapes, but he also made genre pieces, marine scenes, portraits, and architectural pieces. This type of oeuvre is typical for the Italian-bound artists of his day, who paid their way as a jack-of-all-trades. De Molijn died in Haarlem on 23 March 1661.
Alfred Sacheverell Coke
fl.1869-1893