Flemish Baroque Era Painter, 1577-1640  Related Paintings of RUBENS, Pieter Pauwel :. | The Hermit and the Sleeping Angelica | The Cardinal Infante | Mercury and Argus | Return of the Prodigal Son | Self-portrait |
Related Artists:
Adam Chmielowski
1845-1916) was a Polish religious brother and founder of the Albertines. He is a saint of the Catholic Church. Albert is also known as Brat Albert (Brother Albert); in recognition of his holiness he has also been called the "Brother of Our Lord", "Brother of Our God", and "Our God's Brother". Adam Chmielowski was born to a wealthy aristocratic family, and initially studied agriculture with the intention of managing the family estate. Involved in politics since his youth, he lost a leg at the age of 17 while fighting in an insurrection. He became a well-known and well-liked artist in Krakew, his political convictions inspiring his interest in the human condition. A gentle and compassionate spirit, Chmielowski felt compelled to help those in need and after years of reflection, decided to follow his calling into the service of God. In 1880, Chmielowski joined the Jesuits, took up the name Albert and abandoned painting. He began a life of service to the poor. In 1887, he founded the Brothers of the Third Order of Saint Francis, Servants of the Poor, known in honor of their founder as the Albertines or the Gray Brothers, after their rough gray habits. In 1891, he founded the women's congregation, the Gray Sisters. The Albertines organized food and shelter for the poor and homeless.
Henry Wallis
British 1830-1916 1916). English painter, writer and collector. He first studied at F. S. Cary academy and in 1848 entered the Royal Academy Schools, London. He is also thought to have trained in Paris at some time in the late 1840s or early 1850s, first in Charles Gleyre atelier and subsequently at the Ecole des Beaux-Arts. He specialized in portraits of literary figures and scenes from the lives of past writers, as in Dr Johnson at Cave, the Publisher (1854; untraced). His first great success was the Death of Chatterton (London, Tate), which he exhibited at the Royal Academy in 1856. The impoverished late 18th-century poet Thomas Chatterton, who while still in his teens had poisoned himself in despair, was a romantic hero for many young and struggling artists in Wallis day. He depicted the poet dead in his London garret, the floor strewn with torn fragments of manuscript and, tellingly, an empty phial near his hand. The painting was universally praised, not least by John Ruskin who described it as faultless and wonderful, advising visitors to examine it well, inch by inch. Although Wallis was only loosely connected with the Pre-Raphaelite movement, his method and style in Chatterton reveal the importance of that connection: the vibrant colours and careful build-up of symbolic detail are typical Pre-Raphaelite concerns. The success of Chatterton was such that, when exhibited in Manchester the following year, it was protected from the jostling crowds by a policeman. It was bought by another artist, Augustus
James McDougal Hart
(May 10, 1828 - October 24, 1901), was a Scottish-born American landscape and cattle painter of the Hudson River School. His older brother, William Hart, was also a Hudson River School artist, and the two painted similar subjects. Hart was born in Kilmarnock, Scotland, and was taken to America with his family in early youth. In Albany, New York he trained with a sign and carriage maker possibly the same employer that had taken on his brother in his early career. Unlike his brother, however, James returned to Europe for serious artistic training. He studied in Munich, and was a pupil of Friedrich Wilhelm Schirmer in Dusseldorf. Hart returned to America in 1853. He exhibited his first work at the National Academy of Design in 1848, became an associate in 1857 and a full member in 1859. James Hart was particularly devoted to the National Academy, exhibiting there over a period of more than forty years, and serving as vice president late in his life from 1895 to 1899. Like his brother, James also exhibited at the Brooklyn Art Association (he lived for a time in Brooklyn) and at major exhibitions around the country. Along with most of the major landscape artists of the time, Hart based his operations in New York City and adopted the style of the Hudson River School. While James Hart and his brother William often painted similar landscape subjects, James may have been more inclined to paint exceptionally large works. An example is The Old Homestead (1862), 42 x 68 inches, in the collection of the High Museum of Art in Atlanta, Georgia. James may have been exposed to large paintings while studying in D??sseldorf, a center of realist art pedagogy that also shaped the practices of Albert Bierstadt and Worthington Whittredge. William Hart, who did not seek academic European training, seems to have been more comfortable painting small and mid-sized works. Like his brother William, James excelled at painting cattle. Kevin J. Avery writes, "the bovine subjects that once distinguished [his works] now seem the embodiment of Hart's artistic complacency." In contrast with the complacency of some of his cattle scenes, his major landscape paintings are considered important works of the Hudson River School.