(September 15, 1737 - April 28, 1807) was a landscape painter from Brandenburg, who did most of his work in Italy. Hackert was born in 1737 in Prenzlau in the Margraviate of Brandenburg (now in Germany). He trained with his father Philipp (a portraitist and painter of animals) and his uncle, before going to the Akademie der Kenste in Berlin in 1758. Later he traveled to Swedish Pomerania and Stockholm, where he painted murals. He spent from 1765 to 1768 in Paris, with the Swiss Artist, Balthasar Anton Dunker, where he focused on painting in gouache. He met and was inspired by Claude Joseph Vernet, who was already famous as a painter of landscapes and seascapes, and the German engraver Johann Georg Wille. In 1768 Hackert left Paris with his brother Georg, and went to Italy, basing himself mainly in Rome and Naples, where he produced many works for Sir William Hamilton. He travelled all over Italy, gaining a reputation as a talented landscape painter. In 1786 he went to work for Ferdinand I of the Two Sicilies in Naples. He advised on the creation of a painting restoration laboratory at the Museo di Capodimonte, and supervised the transfer of the Farnese collections from Rome to Naples. By this time he had an international reputation, and won commissions from empress Catherine II of Russia, king Louis XVI of France and others. When Goethe visited Naples in 1786, he and Hackert became friends.  Related Paintings of Jacob Philipp Hackert :. | Flusslandschaft mit Liebespaar | Vendanges dautrefois ou Lautomne | River Landscape | Landschaft mit Tempelruinen auf Sizilien | Ausbruch des Vesuvs |
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Aelbrecht Bouts
( 1450s, Leuven - March 1549, Leuven) was a Netherlandish painter. His first name is sometimes spelled eAlberte, eAelberte or eAlbrechte. He was born into a family of painters. Aelbrechtes father was Dieric Bouts the Elder (ca.1415-1475), and his brother was Dieric Bouts the Younger (ca.1448-1490). Jan Bouts (ca.1478-ca. 1530), son of Dieric Bouts the Younger, also became a painter. Dieric Bouts the Younger inherited his fatheres shop in 1475, while Aelbrecht established his own workshop, also in Leuven. Whereas Dieric the Younger continued in his father's style, Aelbrecht developed his own unmistakable style with strong colors, rich texture and fine details. Bob Jones University Museum and Gallery (Greenville, South Carolina), the Cleveland Museum of Art, the Fitzwilliam Museum (Cambridge), Harvard University Art Museums, The Honolulu Academy of Arts, the Hood Museum of Art (Hanover, New Hampshire), the Norton Simon Museum (Pasadena, California), the Royal Museums of Fine Arts of Belgium, the Czartoryski Museum and the Staatsgalerie Stuttgart are among the public collections having paintings by Aelbrecht Bouts.
Krzysztof Lubieniecki
(1659-1729) was a Polish Baroque painter and engraver active in Amsterdam during the Dutch Golden Age. Krzysztof was born in Szczecin. He and his brother Teodor Lubieniecki hailed from an Arian family. They learned to paint from Juriaan Stur in Hamburg. In 1667 they travelled to Amsterdam, where Krzysztof apprenticed with Adriaen Backer, and Teodor with Gerard de Lairesse. In 1682, Teodor moved to Hannover before eventually moving to Poland in 1706, where he died. Krzysztof remained in Amsterdam, where he painted portraits and genre pieces. He also collaborated on prints for Jacobus Houbraken, Daniel Willink, and Johannes Brandt (son of Gerard Brandt). He died in Amsterdam.
Theodor Kalide
1801 Konigshutte-1863 Gleiwitz,German sculptor. At the age of 15 he was apprenticed at the K?nigliche Eisengiesserei in Gleiwitz, where he soon began sculpting cast-iron plaques. In 1819 Johann Gottfried Schadow summoned him to Berlin, where he was instructed in chasing by Cou? and worked in the Berlin Eisengiesserei. In 1821 he transferred to the studio of Christian Daniel Rauch. Following Rauch's example and under his influence, Kalide produced such large animal sculptures as the Resting Lion and the Sleeping Lion (several casts, e.g. zinc, 1824; Berlin, Schloss Kleinglienicke). From 1826 to 1830 Kalide worked on equestrian statuettes, including those of Frederick William II (zinc), after the model by Emanuel Bardou (1744-1818), and Frederick William III (e.g. cast iron; both Berlin, Schloss Charlottenburg, Schinkel-Pav.). In 1830 he became a member of the Berlin Akademie. His most popular works included the life-size bronze group Boy with a Swan (1836), which was installed on the Pfaueninsel in Berlin as a fountain (several casts, all untraced). Kalide achieved wide recognition and aroused violent controversy with his almost life-size marble figure Bacchante on the Panther (1848; Berlin, Schinkelmus., badly damaged). This work transgressed the accepted boundaries of classical art, above all in the figure's provocative pose, and was perceived as shocking. In its uninhibited sensuality and its blending of the human and the animal, it offended the conservative Berlin public, and consequently Kalide received few new commissions. He had no success with competition designs and became increasingly embittered. He spent his last years at Gleiwitz, where he died.