American Hudson River School Painter, 1823-1900 Jasper Francis Cropsey (February 18, 1823 - April 23, 1900) was an important American landscape artist of the Hudson River School. Cropsey was born on his father Jacob Rezeau Cropsey's farm in Rossville on Staten Island, New York, the oldest of eight children. As a young boy, Cropsey had recurring periods of poor health. While absent from school, Cropsey taught himself to draw. His early drawings included architectural sketches and landscapes drawn on notepads and in the margins of his schoolbooks. After studying architecture for five years, he turned his attention to landscape painting, under the instruction of Edward Maury. He visited England, France, Switzerland, and Italy in 1847, went abroad again in 1855, and resided seven years in London, sending his pictures to the Royal Academy and to the International exhibition of 1862. After his return home in 1863, he opened a studio in New York, where he resided until 1885, when he removed to Hastings-on-Hudson. Trained as an architect, he set up his own office in 1843. Cropsey studied watercolor and life drawing at the National Academy of Design and first exhibited there in 1844. A year later he was elected an associate member and turned exclusively to landscape painting in the 1840s, shortly after he was featured in an exhibition entitled "Italian Compositions." Cropsey married Maria Cooley in May 1847, traveled in Europe from 1847-1849, was elected a full member of the Academy in 1851, and lived in England 1856-1863. During this time he specialized in autumnal landscape paintings of the northeastern United States, often idealized and with vivid colors. One such painting is "The Valley of the Wyoming" set in eastern Pennsylvania. The name of this valley was given to the western state of Wyoming. He co-founded, with ten fellow artists, the American Society of Painters in Water Colors in 1866.  Related Paintings of Jasper Cropsey :. | Mountain Glimpse | Natureza Morta | Greenwood Lake | Sunset, Hudson River | Starrucca-Viadukt |
Related Artists:
Charles Rennie Mackintosh
Scottish Art Nouveau Designer, 1868-1928 Scottish architect, designer and painter. In the pantheon of heroes of the Modern Movement, he has been elevated to a cult figure, such that the importance of his late 19th-century background and training in Glasgow are often overlooked. He studied during a period of great artistic activity in the city that produced the distinctive GLASGOW STYLE. As a follower of A. W. N. Pugin and John Ruskin, he believed in the superiority of Gothic over Classical architecture and by implication that moral integrity in architecture could be achieved only through revealed construction. Although Mackintosh's buildings refrain from overt classicism, they reflect its inherent discipline. His profound originality was evident by 1895, when he began the designs for the Glasgow School of Art. His decorative schemes, particularly the furniture, also formed an essential element in his buildings. During Mackintosh's lifetime his influence was chiefly felt in Austria, in the work of such painters as Gustav Klimt and such architects as Josef Hoffmann and Joseph Maria Olbrich. The revival of interest in his work was initiated by the publication of monographs by Pevsner (1950) and Howarth (1952). The Charles Rennie Mackintosh Society was formed in Glasgow in 1973; it publishes a biannual newsletter, has a reference library and organizes exhibitions.
Eduardo de Martino
painted Combate naval in 1838 - 1912
Pierre de Valenciennes
Toulouse 1750-Paris 1819 .French painter. He trained at the academy in Toulouse under the history painter Jean-Baptiste Despax (1709-73). In 1769 he went to Italy for the first time, with Mathias Du Bourg, a councillor at the Toulouse parliament. Du Bourg introduced him to Etienne-Fran?ois, Duc de Choiseul, a keen patron of the arts, who in turn recommended him to Gabriel-Fran?ois Doyen, one of the leading history painters in Paris, whose studio he entered in 1773. Doyen gave his pupil a sense of the elevated ideals of history painting but was also sympathetic to the lesser genre of landscape. Valenciennes presumably frequented Choiseul's country seat at Chanteloup, near Amboise, meeting there the landscape painters Hubert Robert and Jean Hoeel, both proteg's of Choiseul. His early interest in the native landscape can be seen in his sketchbooks (Paris, Louvre), especially one dated 1775 that contains drawings made at Amboise, Compiegne and Fontainebleau