1682-1749 Dutch Jan Van Huysum Galleries He was the brother of Jacob van Huysum, and the son of Justus van Huysum, who is said to have been expeditious in decorating doorways, screens and vases. A picture by Justus is preserved in the gallery of Brunswick, representing "Orpheus and the Beasts in a wooded landscape", and here we have some explanation of his son's fondness for landscapes of a conventional and Arcadian kind; for Jan van Huysum, though skilled as a painter of still life, believed himself to possess the genius of a landscape painter. Half his pictures in public galleries are landscapes, views of imaginary lakes and harbours with impossible ruins and classic edifices, and woods of tall and motionless trees-the whole very glossy and smooth, and entirely lifeless. The earliest dated work of this kind is that of 1717, in the Louvre, a grove with maidens culling flowers near a tomb, ruins of a portico, and a distant palace on the shores of a lake bounded by mountains. Some of the finest of van Huysum's fruit and flower pieces have been in English private collections: those of 1723 in the earl of Ellesmere's gallery, others of 1730-1732 in the collections of Hope and Ashburton. One of the best examples is now in the National Gallery, London (1736-1737). No public museum has finer and more numerous specimens than the Louvre, which boasts of four landscapes and six panels with still life; then come Berlin and Amsterdam with four fruit and flower pieces; then St Petersburg, Munich, Hanover, Dresden, the Hague, Brunswick, Vienna, Carlsruhe, Boston and Copenhagen.  Related Paintings of Jan van Huysum :. | Basket of Flowers | Still Life with Fruit and Flowers | Still Life of Flowers in a Vase on a Marble Ledge | Fruit Still Life | stilleben |
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frederick carl frieseke
American Impressionist Painter, 1874-1939 was an American Impressionist painter. He was born in Owosso, Michigan and studied at the School of the Art Institute of Chicago and the Acad??mie Julian in Paris. Frieseke and his family resided for fourteen years in Giverny, which was also home to Monet. He had a great influence on the Americans at the colony there,
Boris Kustodiev
1878-1927 Russian Boris Kustodiev Galleries The Russian Revolution of 1905, which shook the foundations of society, evoked a vivid response in the artist's soul. He contributed to the satirical journals Zhupel (Bugbear) and Adskaya Pochta (Hell??s Mail). At that time, he first met the artists of Mir Iskusstva (World of Art), a group of innovative Russian artists. He joined their association in 1910 and subsequently took part in all their exhibitions. In 1905, Kustodiev first turned to book illustrating, a genre in which he worked throughout his entire life. He illustrated many works of classical Russian literature, including Nikolai Gogol's Dead Souls, The Carriage, and The Overcoat; Mikhail Lermontov's The Lay of Tsar Ivan Vasilyevich, His Young Oprichnik and the Stouthearted Merchant Kalashnikov; and Leo Tolstoy's How the Devil Stole the Peasants Hunk of Bread and The Candle. In 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness??tuberculosis of the spine??required urgent attention. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted The Merchant's Wife, which became the most famous of his paintings. The Merchant's Wife, (1918).In 1916, he became paraplegic. "Now my whole world is my room", he wrote. His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life. His Pancake Tuesday/Maslenitsa (1916) and Fontanka (1916) are all painted from his memories. He meticulously restores his own childhood in the busy city on the Volga banks. In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations. His covers for the journals The Red Cornfield and Red Panorama attracted attention because of their vividness and the sharpness of their subject matter. Kustodiev also worked in lithography, illustrating works by Nekrasov. His illustrations for Leskov's stories The Darner and Lady Macbeth of the Mtsensk District were landmarks in the history of Russian book designing, so well did they correspond to the literary images.
Hugo Vogel
painted Martin Luther preaching at the Wartburg in 1882