Philip Alexius de Laszlo, MVO (30 April 1869 Budapest - 22 November 1937 London) was a Hungarian painter known particularly for his portraits of royal and aristocratic personages. Laszlo was born in Budapest as Laub Fulop Elek (Hungarian style with the surname first), the eldest son of a Jewish tailor. The family changed its name to Laszlo in 1891. As a young man, Laszlo apprenticed to a photographer while studying art, eventually earning a place at the National Academy of Art, where he studied under Bertalan Szekely and Karoly Lotz. He followed this with studies in Munich and Paris. Laszlo's portrait of Pope Leo XIII earned him a Grand Gold Medal at the Paris International Exhibition in 1900. In 1903 Laszlo moved from Budapest to Vienna. In 1907 he moved to England. He remained based in London for the rest of his life while traveling the world to fulfill commissions. Laszlo's patrons awarded him numerous honors and medals. In 1909 he was named an honorary Member of the Royal Victorian Order by King Edward VII of the United Kingdom. In 1912 he was ennobled by King Franz Joseph of Hungary; his surname became "Laszlo de Lombos". The family later shortened the name to "de Laszlo". Laszlo became a British citizen in 1914 but was interned for over twelve months in 1917 and 1918 during the First World War.   Related Paintings of Philip Alexius de Laszlo :. | The Son of the Artist | Sir Robert Gresley, Eleventh Baronet | Portrait of Ignaz Wechselmann | Portrait of Queen Marie of Romania | Portrait of Lady Rachel Cavendish, later Viscountess Stuart of Findhorn |
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Hamilton Easter Field
(1873-1922) was an important American artist, teacher, author, critic, collector and patron of the arts
Christian Rohlfs
German Painter, 1849-1938 German painter and printmaker. He studied painting at the Kunstschule in Weimar (1870). Prolonged illness forced him to interrupt his studies, which he resumed in 1874 under Ferdinand Schauss (1832-1916) and Alexandre Struys (1852-1941). Through visits to Paris in the 1870s, he came into contact with the art of the Barbizon school, painting en plein-air on his return to Weimar. Under the influence of Struys he painted figurative works, such as Roman Builders (1879; Menster, Westfel. Landesmus.), and nudes in the tradition of academically enlightened Realism. In 1881 Rohlfs worked in a studio under Max Thedy (1858-1924). From c. 1883 he painted mainly landscapes with the approval of Ludwig von Gleichen-Russwurm (1836-1901), who was studying with Theodor Hagen (1842-1919), and was influenced in an indirect way by Albert Brendel (1827-95), who had taught at Weimar from 1875. He often chose formats that were unusually large for landscape paintings in this period, presenting landscape in a similar way to history painting. Atmosphere and light played an important role even in these early pictures, for example Sawmill at Ehringsdorf on the Ilm (930x780 mm, 1883; Weimar, Schlossmus.). From 1884 he worked as an independent painter. After 1885 colour became increasingly important for its own sake; light and shade were suggested purely by colour, which was applied in impasto spots and brushstrokes to create chiaroscuro values that determined the form, for example Wild Garden near Weimar (1888; Weimar, Schlossmus.). By the end of the 1880s he had developed an independent style parallel to Impressionist painting. When he saw works by Monet exhibited in Weimar in 1897, these corroborated his own efforts.
Carlo Bonavia
was an Italian painter known for idyllic landscape paintings, engravings and drawings. He was active from 1740 until his death in 1788. He is thought to be from Rome, but worked in Naples from about 1751 to 1788. He was trained in the Neapolitan landscape tradition of Salvator Rosa (1615-1673) and Leonardo Coccorante (1680-1750), but was much more strongly influenced by the work of Claude Joseph Vernet, who visited Naples in 1737 and 1746.