1624-1679 Dutch Jan van de Cappelle Locations Dutch businessman, collector, painter, draughtsman and etcher. Though now considered the outstanding marine painter of 17th-century Holland, he was not a professional artist nor a member of the Amsterdam Guild of St Luke. His father owned a successful dye-works in Amsterdam, in which both Jan and his brother Louis were active. Their father enjoyed a long life and probably managed the firm until close to his death in 1674, when Jan inherited it. This left Jan with plenty of spare time to pursue his hobby, painting. He married Annetje Jansdr. (Anna Grotingh) before 1653. He died a widower, survived by his seven children, who inherited his considerable fortune. His last will shows that in addition to the dye-works and immense cash assets, van de Cappelle owned extensive properties and an art collection that must be rated among the most important of his time.  Related Paintings of Jan van de Cappelle :. | River Landscape with Pellekussenpoort, Utrecht and Gothic Choir | A Dutch Yacht Firing a Salute as a Barge Pulls Away and Many Small vessels at Anchor | hamnstycke med speglande vatten | Dutch Yacht Firing a Salvo | Ships on a Calm Sea near Land |
Related Artists:
Sergei Svetoslavsky
Russia,1869-1938
Christen Kobke
1810-1848 Danish Christen Kobke Galleries He lived in Kastellet until 1833 and made many paintings of the area. His painting "Gården ved bageriet i Kastellet" (ca. 1832) hangs in the Ny Carlsberg Glyptotek museum in Copenhagen. In 1832 he shared a studio with friend, landscape painter Frederik Hansen Sødring. He painted a portrait of Sødring which now hangs in the Hirschsprung Collection. In 1834 he moved, along with his parents, outside of Copenhagen??s fortifications near Sortedamssøen, a lake area. He painted many views overlooking the lake towards the city and the embankments surrounding the city. His work becomes larger, more monumental. Like many of his contemporary artists he came under the influence of Niels Lauritz Høyen, art historian, who promoted a nationalistic art. Høyen called for artists to search for subject matter in the folk life of their country instead of searching for themes in other lands, such as Italy (which was at that time considered a requirement for an artist??s training). On a visit to Hillerod in 1835 he painted a romantic picture of Frederiksborg Palace, "Frederiksborg Slot ved Aftenbelysning" ("Frederiksborg Palace in the Evening Light"). At the end of 1837 he married Susanna Cecilie Kobke (1810-1849), and shortly afterwards painted a portrait of his young bride. One of the Small Towers on Frederiksborg Castle, c.1834-35.In 1838 he received a travel stipend from the Academy, left his new wife and traveled over Dresden and Munich to Italy accompanied by decorative painter Georg Hilker. They arrived in Rome by year??s end where he met brother-in-law Frederik Christopher Krohn, sculptor and medallionist, and many other Danish artists. He traveled, along with Constantin Hansen the following summer to Naples, Sorrento, Pompeii and Capri where he painted out in the open air. He returned home in 1840 with a large collection of sketches for later use and inspiration. Unfortunately, most his later work with these Italian themes was uninspired, and they found little favor. Kobke even considered at the time becoming a decoration painter, having participated in 1844-1845 in the decoration of the Thorvaldsens Museum, a museum dedicated to the artistic works of Bertel Thorvaldsen. Two years after his father died in 1843 the family sold the property outside Copenhagen, and Kobke moved back into the city. His application for admission to the Academy, which was accompanied by one of his failed Italian landscapes, was rejected in 1846. He died in 1848 of pneumonia, and is buried in Assistens Kirkegard. Kobke, a national romantic, painted portraits, landscapes and architectural paintings. Most of Kobke??s portraits show friends, family members and fellow artists. He found most of his motifs in his immediate surroundings. Now he is recognized internationally for his well composed and harmonic paintings, for their coloristic qualities and for his sense of the everyday life. But in his lifetime he was almost forgotten, especially because of his early death and limited production. Despite his talent and the praise of various contemporaries, Kobke had never been inundated with commissions. Kobke is recognized today as one of the most talented among Denmark??s Golden Age painters and the most internationally renowned Danish painter of his generation. The painterly interpretations he made of his surroundings stand as highpoints of the period. His works are in the collections of not only Danish museums but also such international museums as the J. Paul Getty Museum
Otto Mueller
German Painter, 1874-1930 Otto Mueller was born on October 16, 1874, in Liebau, German Silesia. His mother had been adopted as a young girl, giving rise to the story that he was the son of a gypsy - a story he never denied. He was a cousin to the famous German writers and dramatists Gerhart and Carl Hauptmann (the latter's novel "Einhart der Lächler" is an imaginary portrait of the painter). After four years of apprenticeship with a lithographer, Mueller entered the Academy of Fine Arts in Dresden in 1894. He was dissatisfied with the conservative instructions and left after two years. The next several years he lived close to his influential cousins, and for a short while he went to Munich to study with the famous painter Franz von Stuck. Information about his life and work until 1908 - when he settled in Berlin - is sketchy, especially since the artist destroyed many of his earlier works. In Berlin Mueller met the expressionist sculptor Wilhelm Lehmbruck, whose concept of the human form had a decisive influence on his own perception. When in 1910 his entries to the exhibition of the Berlin Secession were rejected he joined the members of the artist group "Die Brecke" (The Bridge) and exhibited with the New Secession and thus met Ernst Ludwig Kirchner, Ernst Heckel, and Karl Schmidt-Rottluff. He became their lifelong friend, and, while only slightly influenced by their woodcut techniques, he contributed in return his experience in lithography and especially his techniques of distemper painting (colors bound by glue or size). This technique permits the quick coverage of large areas of the very rough canvas (burlap) which he preferred and adds a subdued luminosity. Since overpainting in distemper is not possible, the artist has to have a clear conception of his work before he begins. The technical devices strengthened the Brecke painters' desire to "flatten" the image on the canvas - following the examples of Paul Gauguin and even Edvard Munch and rejecting the academic preference for an emphasis on three-dimensionality of the subject. In his graphic works Mueller experimented with mixtures of woodcut and lithography, the rubbing of the printer's ink, frequently adding color in the form of watercolor or colored chalk, until he had the technical means of the Breslau Academy available to make true color lithographs. His "Gypsy-Portfolio" (nine color lithographs in a portfolio of 1927), which used as many as five stones, is one of his great achievements as a graphic artist. From 1916 to 1918 he served as a soldier in World War I, an experience which left no impact on his work. Shortly after his return he was appointed professor at the Breslau Academy of Art, where he taught until his death. Mueller's work shows only three motifs: landscapes, gypsies, and primarily nudes in landscapes. The last motif dominated his work. The earthen color of his mostly young, subtle but angular nude girls forms with the subdued and delicate greens of the landscape backgrounds a vision of a lost past. There is a frequently melancholic nostalgia in his works, presenting a harmony between nature and the human form which is not only opposite to the academic approach but also to that of the other Expressionists.