1815-1852 Realism Russian Russian painter and draughtsman. He was noted for his satirical critique of Russian life of the mid-19th century. He attended the First Moscow Military School (1826-33), then served in St Petersburg in the Finnish Regiment Life-Guards. While earning a reputation as an honest and hard-working officer, he drew a great deal, played the flute and took part in amateur theatrical performances. Having become established as the regimental artist, in 1834 he began to attend evening classes at the St Petersburg Academy of Arts. In November 1843, after a long period of doubt, he resigned his commission in the army in order to become a professional artist. He began to attend the Academy regularly and joined the battle-painting class of Aleksander Zauerveid (1783-1844),   Related Paintings of Pavel Fedotov :. | Breakfast of an Aristocrate | Young widow | Major proposed | The Major-s Marriage Proposal | Major Betrothal |
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Francis Holman
(1729-1784) was a British maritime painter, little recognised during his own lifetime, but whose paintings are now sought aftereHe is also notable as the teacher of Thomas Luny. He was born in Ramsgate and baptized on 14 November 1729 at St Laurence-in-Thanet, Ramsgate.[1] He was the eldest son and second of six children of Francis Holman (1696-1739), and his wife, Anne Long (1707-1757). His father was a master mariner, and his grandfather a Ramsgate cooper. His younger brother, Captain John Holman (1733-1816), maintained the family shipping business and remained close to Francis throughout his life. Young Francis would certainly have been immersed in the maritime world during his up-bringing; the legacy of this early knowledge is a wealth of detail and accuracy in his later work. The moonlight Battle of Cape St Vincent, 16 January 1780 by Francis Holman, painted 1780 A sixth-rate British man of war off Dover, by Francis Holman, 1777 A small shipyard on the Thames, by Francis Holman, between 1760 and 1784Francis Holman lived in at least five addresses in Wapping on the Thames in London. He married, firstly, Elizabeth, and they produced 3 sons; John (b. 1757), and two more sons, both named Francis, who died in infancy. Elizabeth's death is unrecorded, but on 7 May 1781 he married, secondly, Jane Maxted (c.1736-1790). He was apparently childless when he wrote his will in 1783.
John Quidor
1801-1888 Quidor was born in Gloucester Co., N. J., and in 1826 moved to New York City where he studied painting under John Wesley Jarvis and Henry Inman. Afterward he lived on a farm near Quincy, Illinois, but returned to New York City in 1851. He was obliged to support himself by painting the panels of stage coaches and fire engines and died in abject poverty. Although Quidor was little appreciated in his own time, after his death he was accorded a place among the best early American artists. His paintings establish a mysterious romantic setting for scenes in which he mingled macabre elements with an earthy humor. Many of his works, such as Ichabod Crane Pursued by the Headless Horseman, in the Smithsonian American Art Museum, were inspired by the writings of Washington Irving, who was a personal friend. Irving's A History of New York gave Quidor the subjects for the four paintings in the Brooklyn (N. Y.) Institute: Dancing on the Battery (c. 1860), Peter Stuyvesant's Wall Street Gate (1864), Voyage of the Good Oloff up the Hudson (1866), and The Voyage from Communipaw to Hell Gate (1866). These show Quidor's characteristic mellow and harmonious color, poetic imagination, and naïve humor. He is represented in the Brooklyn Museum by three paintings: Dorothea, Money Diggers, and Wolfert's Will. He also painted religious subjects such as Jesus Blessing the Sick.
Francesco Bassano the younger
Bassano 1549-Venice 1592