American Painter and Sculptor, 1861-1909 American painter, sculptor, illustrator and writer. In 1878 he began his studies at the newly formed School of the Fine Arts at Yale University in New Haven, CT, remaining there until 1880. This, along with a few months at the Art Students League in New York in 1886, was his only period of formal art training. In 1881 he roamed through the Dakotas, Montana, the Arizona Territory and Texas to document an era that was fast vanishing. He returned east and in 1882 had his first drawing published (25 Feb) in Harper's Weekly. Further commissions for illustrations followed, including that for Theodore Roosevelt's Ranch Life and the Hunting Trail (New York, 1888) (see BOOK ILLUSTRATION, fig. 8).   Related Paintings of Frederic Remington :. | The Buffalo Hunt | The Flight | Who Comes There (mk43) | What an Unbranded Cow Has Cost | The Belated Traveler (mk43) |
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CAMASSEI, Andrea
Italian painter, Roman school (b. 1602, Bevagna, d. 1649, Roma) Andrea Camassei (1602-1649) was an Italian painter of the Baroque, who was mainly active in Rome under the patronage of the Barberini. He was born in Bevagna. He was active in painting in the Palazzo Barberini as well as in Antonio Barberini's favored church, Santa Maria della Concezione, where he painted the Assumption of the Virgin on the dome. His training was under Domenichino, but he also labored under the direction of Sacchi and Pietro da Cortona. He painted a Triumph of Constantine for the Baptistery of the Lateran Palace. He painted for the Taddeo Barberini, two large canvases (1638-39) depicting Massacre of the Niobids and Hunt of Diana. He also painted a Saints Bonaventura, Bernardino & Ludovico da Tolosa for Santa Caterina in Rapecchiano (Spello).
Max Kurzweil
Maximilian Franz Viktor Zdenko Marie Kurzweil (12 (13?) October 1867 Bisenz - 9 May 1916 Vienna) was an Austrian painter and printmaker. He moved near Vienna in 1879.
Pieter Jansz. Saenredam
(June 9 1597 - buried May 31 1665) was a painter of the Dutch Golden Age, known for his distinctive paintings of whitewashed church interiors. Saenredam was born in Assendelft, the son of the Northern Mannerist printmaker and draughtsman Jan Pietersz Saenredam (1565-1607), a follower of Goltzius whose sensuous naked goddesses are in great contrast with the work of his son. In 1612 he moved to Haarlem, where he became a pupil of Frans de Grebber and lived for the rest of his life. In 1614 he became a member of the Haarlem Guild of St. Luke. He died in Haarlem. A contemporary of the painter-architects Jacob van Campen, Salomon de Bray, and Pieter Post, he is noted for his surprisingly modern paintings of church interiors, the great bulk of his production. Saenredam achieved this modern look by using very even light, subtlely modulated, and by removing detailed depiction of textures, in meticulously measured and drawn sketches. He would make these sketches in pencil, pen, and chalk, then and add in watercolor to help give the sketch texture and color. The sketches are detailed, conveying the interior atmosphere through the clever use of light and graduated shadows. Saenredam often deliberately omitted people and church furniture from work, thus focusing more attention on buildings and their architectural forms. Only after having made precise measurements, and precise sketches and drawings of the churches, he would take them to his studio where he started to create his paintings, often after a delay of many years. His emphasis on even light and geometry is brought out by comparing his works with those of the rather younger Emanuel de Witte, who included people, contrasts of light and such clutter of church furniture as remained in Calvinist churches, all usually ignored by Saenredam. Unlike de Witte's, Saenredam's views are usually roughly aligned with a main axis of the church.