Swedish, 1858-1930,Swedish painter, draughtsman and illustrator. From 1874 he studied at the Konstakademi in Stockholm, where he soon became a friend of Richard Bergh and Karl Nordstrem, both of whom were later prominent exponents of the more advanced Swedish painting of the 1880s and 1890s. After being forced to interrupt his studies because of illness, Kreuger trained from 1878 at the art school of Edvard Perseus (1841-90) in Stockholm before he travelled to Paris, where he stayed for the most part until 1887. He made his d?but at the Paris Salon in 1882, and he also resided in the artists' colony in Grez-sur-Loing. During this period he painted such works as Old Country House (1887; Stockholm, Nmus.) with a free brushwork and sense of light that owed much to Jules Bastien-Lepage. In 1885 Kreuger was active in organizing the Opponenterna, a protest movement led by Ernst Josephson against the conservative establishment of the Konstakademi in Stockholm, and the following year he helped to found the Konstn?rsf?rbund (Artists' Union). Like the majority of the Konstnersferbund's members, Kreuger abandoned the French-inspired plein-air realism of the 1880s for symbolically coloured National Romanticism in the 1890s. For Kreuger this change took place between 1893 and 1896 in Varberg on the west coast of Sweden, where, together with Bergh and Nordstrem, he founded the Varberg Group. Drawing on Paul Gauguin's Synthetism, the group contributed to the formation of the National Romantic style of the 1890s in Sweden. Kreuger's encounter with van Gogh's drawings at an exhibition in Copenhagen in 1893 also played a decisive role in his development. He devised an intensely personal style in which the landscape was composed in large blocks that were then covered by a pattern of directional lines and dots in India ink (somewhat in the manner of van Gogh's late landscape drawings) to bring out the painting's colour values and create an effect of decoratively stylized forms: for example Spring in Halland (1894; Stockholm, Nmus.). Kreuger was also a prolific draughtsman and illustrator.   Related Paintings of Nils Kreuger :. | vinterkvall . | vinterkvall i varberg | min hustru bertha och bessie | i solgasset, motiv fran alvaret, oland | Snowy Weather |
Related Artists:
PRETI, Mattia
Italian Baroque Era Painter, 1613-1699 Italian painter and draughtsman. Although he was trained and had his first success as a painter in Rome during the 1630s and 1640s, he is traditionally associated with the Neapolitan school. It was in Naples between 1653 and 1660 that he made his most lasting mark (see fig. 1), contributing to the evolution of the exuberant late Baroque style and providing an important source of inspiration to later generations of painters, notably to Francesco Solimena. From 1661 he was based in Malta, where his most substantial undertaking was the decoration of St John's, Valletta. Preti's mature style is intensely dramatic and unites a Caravaggesque realism and expressive chiaroscuro with the grandeur and theatricality of Venetian High Renaissance painting.
Antropov Aleksei
Russian, 1716-1795
Dwight William Tryon
(August 13, 1849 ?C July 1, 1925) was an American landscape painter in the late 19th and early 20th centuries. His work was influenced by James McNeill Whistler, and he is best-known for his landscapes and seascapes painted in a tonalist style. Tryon was born in Hartford, Connecticut. His father was killed in a gun accident before Tryon reached four years of age, and Tryon was raised by his mother on his grandparent's farm in East Hartford. His interest in art evolved naturally. As a young man Tryon took a job at a prominent Hartford bookstore and studied art instruction manuals from the store shelves. He also took to sketching the surrounding countryside during his off hours Tryon sold his first painting in 1870. After exhibiting and selling work locally, he successfully exhibited at the National Academy of Design in 1873. His artistic convictions affirmed, Tryon married, quit his job at the bookstore and became a full-time artist. Some of his first works from this period are seascapes and harbor views executed in a luminist manner. Soon after, however, Tryon's style shifted towards the Barbizon school, which was then becoming popular among American artists. He may have been influenced by the works of George Inness and Alexander Helwig Wyant. In 1876 Tryon decided to advance his skills through a formal study of art. He sold all of his paintings at auction and, with the help of a benefactor, traveled to France with his wife. He enrolled in the atelier of Jacquesson de la Chevreuse, and took classes at the École des Beaux-Arts. He also received instruction from Charles-François Daubigny, Henri Harpignies, and Jean Baptiste-Antoine Guillemet. Impressionism was blossoming in France all around Tryon, but he was not swayed by the new style and remained comfortably within the realm of the Barbizon school. Tryon traveled and sketched Europe with his wife, and met Abbott Handerson Thayer and his wife with whom he became friends. He returned to the United States in 1881 and settled in New York City where he taught and painted landscapes. In New York, Tryon became friends with artists Robert Swain Gifford and Thomas Dewing. He became an early member of the Society of American Artists and continued to exhibit paintings to the National Academy of Design. He also became a member of the American Water Color Society and the National Institute of Arts and Letters (now The American Academy of Arts and Letters). On the advice of Gifford, Tryon and his wife built a summer house in South Dartmouth, Massachusetts in 1887. Though he would continue to spend each winter in New York City, South Dartmouth became Tryon's home for the rest of his life. The coastal area appealed to Tryon's aesthetic sensibilities and allowed him to indulge in fishing, his favorite pastime. By the late 1880s Tryon began painting landscapes in what would become his mature and iconic style. Working most often in oil, Tryon's paintings typically feature a group or broken row of trees in the middle distance, often colored in an autumnal hue, separating a glowing sky above and a foreground marsh or pasture below. He also continued to paint the sea in his mature career, often employing pastel to show a bare expanse of water, sky and beach in various weather and light. He exhibited his works nationally but tended to favor The Pennsylvania Academy of Fine Arts in Philadelphia and the Montross Gallery in New York. A Detroit industrialist, Charles Lang Freer, first bought a painting by Tryon in 1889 and became Tryon's most important patron. Freer eventually bought dozens of Tryon's paintings, including many of his best works, and worked closely with Tryon in the interior design of his Detroit home. Freer, a major collector of Asian art and works by James McNeill Whistler, went on to establish the Freer Gallery of Art, part of the Smithsonian Institution in Washington, DC, where many works by Tryon can be seen today. Took the coveted First Prize for his painting Salt-Marsh, December at the Tennessee Centennial Exposition that was held in Nashville, Tennessee in 1897. He is described in the "Fine Art Catalogue" which is copyrighted by Theodore Cooley as follows: William Tryon is an American landscape painter whose pictures are greatly sought for their delicacy of coloring and refinement of feeling. A pupil of Daubdigny, he is, like that artist, a painter of country life - the idyllic rusticity of apple trees in bloom, of waving cornfields, of shining valleys and streams rippling gently to the sea. He is especially fine in the silvery-gray atmosphere. In addition to his painting, Tryon taught at Smith College from 1886 to 1923, visiting part time to critique students' work and, late in his career, establishing the Tryon Gallery of Art. He died of cancer in South Dartmouth on July 1, 1925.