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

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Johann Zoffany
George Nassau Clavering, 3rd Earl of Cowper (1738-1789), Florence beyond

ID: 81298

Johann Zoffany George Nassau Clavering, 3rd Earl of Cowper (1738-1789), Florence beyond
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Johann Zoffany George Nassau Clavering, 3rd Earl of Cowper (1738-1789), Florence beyond


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Johann Zoffany

German (Resident in Britain) 1734-1810 Johann Zoffany Galleries Painter of portraits, conversation pieces, and theatrical scenes, Zoffany was born in Germany and came to England about 1758 after studying in Italy. He began by painting clock faces and doing hack work, before turning to painting theatrical scenes, especially depicting David Garrick. He was favoured by the royal family. George III nominated him for the Royal Academy in 1769 and recommended him to the duke of Tuscany.  Related Paintings of Johann Zoffany :. | Kaiser Franz | Charles Towneley's Library in Park Street (nn03) | George Nassau Clavering, 3rd Earl of Cowper (1738-1789), Florence beyond | David Garrick as Abel Drugger in Jonson's The Alchemist | George III of the United Kingdom |
Related Artists:
Lorenzo Ghiberti
Italian Early Renaissance Sculptor, 1378-1455
Georg Macco
Germany (1863- 1933 ) - Painter
kees van dongen
kees van dongen,(1877 to 1968),French painter and printmaker of Dutch birth. He took evening classes in geometric drawing from 1892 to 1897 at the Akademie voor Beeldende Kunsten in Rotterdam. In 1895 he began working intermittently for the newspaper Rotterdamsche Nieuwsblad, for which he made, among other things, a series of bright watercolour drawings of Rotterdams red-light district and illustrations of Queen Wilhelminas coronation. Van Dongen first paintings used dark tones in imitation of Rembrandt, who remained the most important model for his work; his later book on Rembrandt was, in fact, a projection of his own life. By the mid-1890s he was using more vivid contrasts of black and white, for example in Spotted Chimera (1895; priv. col., see Chaumeil, pl. 1), his palette soon becoming brighter and his line more animated. In Le Muet Windmill (1896; priv. col., see Chaumeil, pl. 7), a red ochre monochrome painting, he successfully enlivened the colour by means of broad, energetic brushstrokes.






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