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 :. | Heart of the Andes | Chimborazo | Scene on the Magdalena | Syria by the Sea | Great Basin,Mount Katahdin,Maine |
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Alexei Jawlensky
1864-1941 Russian Alexei Jawlensky Galleries Alexej von Jawlensky was born in Torzhok, a town in the department of Tver, Russia, as the fifth child of Georgi von Jawlensky and his wife Alexandra (n??e Medwedewa). His family was aristocratic. At the age of ten he moved with his family to Moscow. After a few years of military training, he became interested in painting, visiting the Moscow World Exposition c. in 1880. In 1896 he moved to Munich where he studied in the private school of Anton Azbe. In Munich he met Wassily Kandinsky, and Marianne von Werefkin, other Russian artists and helped form the Neue Kunstlervereinigung M??nchen. His work in this period was lush and richly coloured, but later moved towards abstraction with a simplified and formulaic style in a search to find the spiritual. Alexej von Jawlensky. Abstract Head, c. 1928He died in Wiesbaden, Germany on 15 March 1941.
CARDUCHO, Vicente
(b. 1576, Florence, d. 1638, Madrid Painter and theorist, brother of Bartolom Carducho. He became a prolific painter for both the church and the court in Castile, adapting a late 16th-century Italianate style, introduced into Spain in the 1580s, to Spanish themes and settings. After his death this style was superseded in monastic programmes by Zurbarn's pietistic simplicity and in altarpieces and devotional painting by the elegant compositions of van Dyck and Rubens, while Velezquez was unrivalled as a portrait painter. Of more enduring influence than Vicente's paintings, however, was his Dielogos de la pintura (Madrid, 1633), an erudite defence of painting as a noble pursuit and of the artist as a learned humanist. While painters in Spain struggled until the 18th century to attain freedom from artisanship, the Dielogos featured significantly in 17th-century efforts to achieve that goal,
William Wendt
1865-1946 Wendt believed there are philosophical, metaphysical, and theological foundations as to why humankind creates Art. Art becomes a sign in itself that points ultimately towards higher realities than the art object or process manifests in and through itself, courtesy of the artist's knowledge and free-will. Art is an adoration symbol that links the reality of the artist's vision and dream-state to the principles that are nature. Wendt decades in front of nature. William Wendt found a California at the close of the 19th century which is now lost forever due to the effects of industrialism, consumerism and population density. Wendt believed nature was a manifestation of God, and he viewed himself as nature's faithful interpreter. Thom Gianetto of Edenhurst Gallery, Los Angeles, is a specialist in William Wendt.