1792 - 1871 English painter and printmaker. He was the son of Charles Hayter (1761-1835), miniature painter, author of manuals for art instruction and Professor of Perspective and Drawing to Princess Charlotte. In 1808 George entered the Royal Academy Schools, and in 1815 was appointed Painter of Miniatures and Portraits by Princess Charlotte. Hayter was awarded the British Institution's premium for history painting for the Prophet Ezra (1815; Downton Castle, Heref. & Worcs), purchased by Richard Payne Knight. Encouraged by his patron, John Russell, 6th Duke of Bedford, he travelled to Italy to study in 1816, gaining election as an honorary member of the Accademia di S Luca in Florence. Returning to London in 1818, Hayter practised as a portrait painter in oils and history painter and occasionally acted as an art dealer. Dubbed 'The Phoenix' by William Beckford, Hayter showed a pomposity that irritated his fellow artists, but he mixed freely with many aristocratic families.   Related Paintings of George Hayter :. | Portrait of the Duke of Wellington | Venus, supported by Iris, complaining to Mars | The Hon. Charlotte and The Hon. Louisa Stuart, daughters of Baron Stuart de Rothesay, Paris 1830 | Drawing portrait of John Russell, 6th Duke of Bedford | Portrait of Charles Stuart, 1st Baron Stuart de Rothesay |
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George John Pinwell,RWS
1842-1875 English illustrator and painter. He was born in humble circumstances and was largely untrained. He was briefly a student at St Martin's Lane Art School and at Heatherley's. From 1863 he contributed woodblock illustrations to magazines, establishing his reputation in 1865 with the Dalziel brothers' editions of The Arabian Nights and The Works of Oliver Goldsmith. Pinwell's finest drawings were commissioned for the Dalziels' poetry gift-books. With another illustrator, John William North (1842-1924), he worked at Halsway Manor in Somerset in 1865, experimenting with formal effects based on the structure of stone farm buildings or on the wooden beams of barn interiors (his drawings do not seem to have survived). Some of the illustrations for A Round of Days (1866) and Wayside Posies (1867) present an ideal vision of the countryside, but a vein of social concern is also present. In The Journey's End, from Wayside Posies, a strolling player lies dead, worn out by hardship and hunger. For an illustrated edition of Jean Ingelow's Poems (1867),
Theodor Kittelsen
1857-1914,was a Norwegian artist born in the coastal town of Kragero in Norway. He is famous for his nature paintings on the one hand, and on the other hand for his illustrations of fairytales and legends, especially of trolls. For a time, Kittelsen studied painting and watchmaking. When his talent was discovered by Diderich Maria Aall, he attended classes at the School of Art in Christiania (the present Oslo). Because of generous financial support by Aall he was able to continue his study in Munich. However, in 1879 Diderich Aall could no longer manage to support him, so Kittelsen had to earn his money as a draughtsman for German papers and magazines. When back in Norway, he found nature to be a great inspiration. Kittelsen started to write texts to his drawings here. In 1881, Kittelsen was hired to illustrate Norwegian fairy-tales by the Norwegian folklore collector Peter Christen Asbjornsen. His style could be classified between (Neo-)Romantic and naive painting. As a national artist he is highly respected and well known in Norway, but does not receive much international attention, which is the reason that his name is hardly registered in registers of painters. Black metal bands such as Burzum have used nearly all of his pictures as album art, notably illustrations taken from Kittelsen book Svartedauen (The Black Death).
Theodore Roussel
English Painter, 1847-1926 English painter and etcher of French birth. He was born and educated in France and settled in England in 1878, when he quickly established a reputation. Largely self-taught, his few extant early paintings show an eclectic style that combines the techniques of the Old Masters, which he studied in detail, with the subject-matter of modern urban life. In 1885 he was introduced to James McNeill Whistler, his neighbour in Chelsea, London, and in consequence a lifelong friendship was formed. As Roussel was a member of Whistler's London circle his work in watercolour and oil was influenced by the latter in style and choice of subject-matter. His oft-quoted remark that he was a 'pupil of Whistler' is, however, belied by his frequently distinct style, as seen in such paintings as the Reading Girl (1886-7; London, Tate). In 1888 Whistler introduced him to the techniques of etching and drypoint, resulting in such etchings as the Sign of the 'White Horse', Parson's Green (c. 1893-4; see Rutter, pl. xxx). For the remainder of his life he relentlessly pursued the medium, even, like Whistler, designing his own special frames. Always fascinated by the theoretical and practical nature of colour science, he constantly experimented and was an early pioneer of the technique of colour etching in England, producing such works as Dawn.