Austrian Painter, 1768-1839 Painter and writer. He was one of the most important landscape painters of the early 19th century. With his friend Johann Christian Reinhart he pioneered the 'heroic' landscape style by heightening the grandeur and structural clarity of classical Italianate landscapes in the tradition of Nicolas Poussin, Claude Lorrain and Gaspard Dughet. His work reflects a transitional period in European art. Largely under the influence of Asmus Carstens, Koch subscribed to many Neo-classical principles, but his work also has Romantic aspects. His interest in the natural sciences and Romantic philosophy betrayed an increasingly modern world-view, but he also embraced the medievalism of the Nazarenes.   Related Paintings of Koch, Joseph Anton :. | La Baigneuse de Valpincon | The Guardian Angel with Sts Anthony of Padua and Gaetano Thiene af | Noon | fangsten delas | Deposition,details |
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Dante Gabriel Rossetti
English Pre-Raphaelite Painter, 1828-1882 Rossetti's first major paintings display some of the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary, Virgin and Ecce Ancilla Domini both portray Mary as an emaciated and repressed teenage girl. His incomplete picture Found was his only major modern-life subject. It depicted a prostitute, lifted up from the street by a country-drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci. Although he won support from the John Ruskin, criticism of his clubs caused him to withdraw from public exhibitions and turn to waterhum, which could be sold privately. In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices. Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix. These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst another of his mistresses Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess.
SPADA, Lionello
Italian Baroque Era Painter, 1576-1622 Italian painter, active mainly in Emilia. His signature was an L placed across a sword [Ital. spada=sword]. His work shows influence of the grand manner of the Carracci, as in The Burning of Heretical Books (San Domenico, Bologna), and of Caravaggio's naturalism, seen in dramatic religious and genre scenes such as The Way to Calvary (Parma). In his late works his manner became softer and warmer under Correggio's influence. An example is The Marriage of St. Catherine (Parma).
Lotz, Karoly
Hungarian Painter, 1833-1904 was a German-Hungarian painter. Karl Lotz was born in Bad Homburg vor der Höhe, Germany, the seventh and youngest surviving child of Wilhelm Christian Lotz and Antonia Höfflick. His father was a valet of Prince Gustav zu Hessen-Homburg at the time when the prince was representing Austria at the Congress of Vienna, which among other matters dealt with the House of Hessen-Homburg's rights of sovereignty over Hessen-Darmstadt. The sudden death of the young Baron von Sinclair, charge d'affaires, forced W. C. Lotz temporarily into the rôle. While in Hungary in 1815 he made the acquaintance of the 13-year-old Antonie Hoefflich, whom he married three years later. She gave birth to eight children, of whom Karl was the youngest. W. C. Lotz died in 1837 and Antonie moved the family to Pest (now that part of Budapest to the north of the River Danube). Karl attended the Piaristengymnasium, where, although Calvinist, he was awarded a scholarship for his exceptional academic performance. He began his artistic career as a pupil of the Hofkapellmeister Destouches, then in the academy of the Venetian master Jacopo Marastoni (1804-1860). Later he was a pupil of the historical painters Henrik Weber (1818-1866) in Budapest and Carl Rahl (1812-1865) in Vienna. Together with Rahl he worked on numerous commissions. Later he started on his own original works, first as a romantic landscape artist in scenes of the Alföld (the Hungarian lowland plain), and then as a creator of monumental murals and frescos in the style of the Venetian master Tiepolo. After various works in Budapest he became active in Vienna. He laid out plans for a grandiose palace, and completed murals commissioned by the Abbot of Tihany for his abbey church on the shore of Lake Balaton. He became known for his portraits and nudes, for which both his wife and his daughters (Katarina in particular) posed. Lotz found married bliss only at the age of 58, when he married the widow Jacoboy, the former wife of his brother Paul Johann Heinrich, who had died in 1828. From then on he signed his works Keroly Jacoboy-Lotz. In 1882 Lotz was appointed Professor at various art academies in Budapest, and in 1885 he became dean of a newly-established department for women painters.