German Baroque Era Painter, 1632-1698 was a German painter, born in Munich but active most of his life in Venice. He is also called Johann Karl, Carlotto, and Carlo Lotti. He was the son and pupil of Johann Ulrich Loth (1590- 1662). He was commissioned to paint for the emperor Leopold in Vienna. He was influenced by Pietro Liberi. His brother Franz Loth was also a painter in Venice and Germany. He had numerous pupils including Willem Drost, Cornelis de Bruijn, Johann Michael Rottmayr, Paul Strudel, Santo Prunati, Daniel Seiter, and Giovan Battista Langetti.   Related Paintings of Johann Carl Loth :. | Eliezer and Rebecca at the Well | Mercury piping to Argus | Gleichnis vom Barmherzigen Samariter | Martyrdom of Saint Gerard Sagredo | Jupiter and Mercury at Philemon and Baucis before 1659 |
Related Artists:
Gustave Le Gray
French Photographer, 1820-1884,French photographer, painter and teacher. He studied painting with Paul Delaroche until 1843. A study trip to Switzerland and Italy, financed by his parents, followed, but it was cut short by an untimely marriage in 1844, his sudden return to his family's home and the subsequent birth of two children in 1845 and 1846. Skilled in painting as an experimenter with pigments, he was attracted to the experimental side of the new paper negative processes available in France after 1847 and plunged into photography, probably to finance the burdens of the family life newly thrust upon him. His treatise, Trait? pratique de photographie sur papier et sur verre (1850), outlined his own variant of the dry waxed paper negative process using thinner paper, as well as a recipe for collodion on glass negatives rivalling that of the English inventor Frederick Scott Archer (see PHOTOGRAPHY,
Gottlieb Schick
romanticism artist. German, 1776-1812 German painter. He trained at the H?he Karlsschule in Stuttgart (1795-7) under the classically-orientated painter Philipp Friedrich von Hetsch (1758-1839), a pupil of David. Schick also took private lessons (1797-8) with the sculptor Johann Heinrich von Dannecker. From 1799 to 1802 Schick studied in Paris under David, and he soon became one of David's favourite students. He made two unsuccessful attempts to win the Prix de Rome with compositions that derived from the style of David. However, greater independence is seen in his life-size painting Eve (1800; Cologne, Wallraf-Richartz-Mus.), a magnificent allegory of Beauty synthesizing a classically-orientated reinterpretation of ancient art and a proto-Romantic interpretation of biblical subject-matter, inspired by Milton's Paradise Lost. As Schick himself stated (letter to Dannecker, 10 July 1800), he had tried to emulate both the Medici Venus and the female figures of Raphael. In 1802, on a pension from Frederick II, Duke of Werttemburg, Schick moved to Rome and for almost a decade played a leading role in Roman artistic life. His friendship with Joseph Anton Koch led to mutual influence in the work of the two artists. Koch was indebted to Schick for invaluable hints on oil painting and for choice of subjects. For a fortnight in July 1805, Schick exhibited in the Pantheon his large oil painting The Sacrifice of Noah (2.50*3.27 m, 1804; Stuttgart, Staatsgal.). The work was inspired by Raphael's Old Testament frescoes in the Vatican Loggie; and it brought Schick enormous success. Despite financial hardship, Schick continued to work indefatigably, and without waiting for commissions, on a wide variety of projects. These included biblical and mythological subjects as well as portraits. Between 1806 and 1808 he completed his Apollo among the Shepherds (Stuttgart, Staatsgal.), a subject he had attempted while still in Paris and then again in Rome in 1805. The second Rome version had clearly gained through Schick's concentrated thought over a period of several years, and the result represented an avowal of faith both in the artist's own gifts and in German Classicism.
adelaide a procter
an English poet, was the eldest daughter of the poet Bryan Procter. In 1851, Procter became a Roman Catholic. She took much interest in social questions affecting women. She wrote the well-known songs Cleansing Fires and The Lost Chord, and among her many hymns are I do not ask, O Lord, that Life may be, and My God, I thank Thee who hast made.