Edouard Vuillard
Edouard Vuillard's Oil Paintings
Edouard Vuillard Museum
November 11, 1868-June 21, 1940. French painter.

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Johann Heinrich Fuseli
The Awakening of the Fairy Queen Titania

ID: 80377

Johann Heinrich Fuseli The Awakening of the Fairy Queen Titania
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Johann Heinrich Fuseli The Awakening of the Fairy Queen Titania


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Johann Heinrich Fuseli

1741-1825 Romanticism Swiss   Related Paintings of Johann Heinrich Fuseli :. | Titania is leevtallig met Bottom met de daare Eselkopp | Kriemhild zeigt Gunther im Gefangnis den Nibelungenring | Sleep and Death carrying away Sarpedon of Lycia | Theodore Meets in the Wood the Spectre of His Ancestor Guido Cavalcanti | Reiter von Riesenschlange uberfallen |
Related Artists:
Anton Wilhelm Tischbein
(1730 -1804 ) - Painter
Sir Edward Coley Burne-jones,Bart.,ARA,RWS
1833-1898
Peale, Sarah Miriam
American Painter, 1800-1885 Painter, daughter of James Peale. The most notable of James Peale's painting daughters, she also studied with her uncle Charles Willson Peale and her cousin Rembrandt Peale, from whom she developed her talent for colour and precision in details. As studio assistant to her father, she occasionally introduced into his work bright and intricate fabrics. Her career began in 1817 with the exhibition of Flowers at the Pennsylvania Academy of the Fine Arts. In the 1820s she painted in Baltimore and Philadelphia; in 1824 she was elected to the Pennsylvania Academy. From 1831 to 1846 she maintained her studio in Baltimore where she was a popular portrait painter, producing unpretentious but intelligent and occasionally romantic portraits characterized by a fine concern for materials, as in Mrs Perry Eccleston Noel (c. 1822; Baltimore, Mus. & Lib. MD Hist.). Her sitters included such prominent politicians as Daniel Webster (1842; St Louis, MO Hist. Soc. Mus.) and Abel Park Upshur (1842; Baltimore, Mus. & Lib. MD Hist.). In 1847 Sarah moved to St Louis, MO, where for 32 years she was in great demand. From 1859 her still-lifes won prizes at the St Louis fairs; they were loosely painted works different from the tightly controlled table-top pieces of her father and sister. Sarah's portraiture also changed, from the elegant, precise Neo-classicism learnt from her cousin Rembrandt to a looser,






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