(1841, Rome - 1920) was a Spanish realist painter. He studied painting under his father, Federico de Madrazo, and at the School of the Beaux Arts in Madrid. After 1860 he lived mostly in Paris, where he studied under L??on Cogniet. His remarkable technical ability made him a highly successful portrait painter in a Salon style.   Related Paintings of Raimundo Madrazo :. | Portrait Of Aline Mason In Blue | The Reluctant Mistress | Gitana | Love Letter | La Flore du jardin du Roi a Versailles |
Related Artists:
Louise-Catherine Breslau
(6 December 1856 - 12 May 1927) was a German/Swiss artist. Born Maria Luise Katharina Breslau in Munich, Germany, she spent her childhood in Zurich, Switzerland and as an adult made Paris, France her home. Suffering from asthma all her life, Breslau turned to drawing as a child to help pass the time while confined to her bed. Although she became one of the most sought after portraitists of her time, after her death she and her work were all but forgotten. It has only been in the past few years that interest in Breslau and her works has been growing. Breslau was born into a prosperous bourgeois family; her father was a well-respected physician specializing in obstetrics and gynecology. When Breslau was two years old, her father accepted the position of professor and head physician of Obstetrics and Gynecology at the University of Zurich; Switzerland became home to the Breslau family.
KONINCK, Philips
Dutch Baroque Era Painter, 1619-1688 was a Dutch landscape painter.Little is known of his history except that he was said to be a pupil of Rembrandt, whose influence is to be seen in much of his work. He painted chiefly broad, sunny landscapes, full of space, light and atmosphere; they are seen from a high perspective, allowing a prominent view of the sky. Portraits by him, somewhat in the manner of Rembrandt, also exist (e.g. see Joost van den Vondel); there are examples of these in the galleries at Copenhagen and Oslo. Of his landscapes, the principal are View at the mouth of a river at the Hague, with a slightly larger replica in the National Gallery, London; Woodland border and countryside (with figures by Adriaen van de Velde) at Amsterdam; and landscapes in Brussels, Florence (the Uffizi), Berlin and Cologne. Koninck, a prosperous businessman, appears to have painted few pictures during the last decade of his life. Several of his works have been falsely attributed to Rembrandt and many more to his namesake and fellow townsman Salomon de Koninck (1609-1656), also a disciple of Rembrandt, whose paintings and etchings consist mainly of portraits and biblical scenes. Both of these painters are to be distinguished from David Koninck (1636-1687),
George Stubbs
1724-1806 George Stubbs Galleries George Stubbs (born in Liverpool on August 25, 1724 ?C died in London July 10, 1806) was a British painter, best known for his paintings of horses. Stubbs was the son of a currier. Information on his life up to age thirty-five is sparse, relying almost entirely on notes made by fellow artist Ozias Humphry towards the end of Stubbs's life. Stubbs was briefly apprenticed to a Lancashire painter and engraver named Hamlet Winstanley, but soon left as he objected to the work of copying to which he was set. Thereafter as an artist he was self-taught. In the 1740s he worked as a portrait painter in the North of England and from about 1745 to 1751 he studied human anatomy at York County Hospital. He had had a passion for anatomy from his childhood, and one of his earliest surviving works is a set of illustrations for a textbook on midwifery which was published in 1751. In 1755 Stubbs visited Italy. Forty years later he told Ozias Humphry that his motive for going to Italy was, "to convince himself that nature was and is always superior to art whether Greek or Roman, and having renewed this conviction he immediately resolved upon returning home". Later in the 1754 he rented a farmhouse in the village of Horkstow,Lincolnshire, and spent 18 months dissecting horses. He moved to London in about 1759 and in 1766 published The anatomy of the Horse. The original drawings are now in the collection of the Royal Academy. Even before his book was published, Stubbs's drawings were seen by leading aristocratic patrons, who recognised that his work was more accurate than that of earlier horse painters such as James Seymour and John Wootton. In 1759 the 3rd Duke of Richmond commissioned three large pictures from him, and his career was soon secure. By 1763 he had produced works for several more dukes and other lords and was able to buy a house in Marylebone, a fashionable part of London, where he lived for the rest of his life. Whistlejacket. National Gallery, London.His most famous work is probably Whistlejacket, a painting of a prancing horse commissioned by the 2nd Marquess of Rockingham, which is now in the National Gallery in London. This and two other paintings carried out for Rockingham break with convention in having plain backgrounds. Throughout the 1760s he produced a wide range of individual and group portraits of horses, sometimes accompanied by hounds. He often painted horses with their grooms, whom he always painted as individuals. Meanwhile he also continued to accept commissions for portraits of people, including some group portraits. From 1761 to 1776 he exhibited at the Society of Artists, but in 1775 he switched his allegiance to the recently founded but already more prestigious Royal Academy. Stubbs also painted more exotic animals including lions, tigers, giraffes, monkeys, and rhinoceroses, which he was able to observe in private menageries. He became preoccupied with the theme of a wild horse threatened by a lion and produced several variations on this theme. These and other works became well known at the time through engravings of Stubbs's work, which appeared in increasing numbers in the 1770s and 1780s. Mares and Foals in a Landscape. 1763-68.Stubbs also painted historical pictures, but these are much less well regarded. From the late 1760s he produced some work on enamel. In the 1770s Josiah Wedgwood developed a new and larger type of enamel panel at Stubbs's request. Also in the 1770s he painted single portraits of dogs for the first time, while also receiving an increasing number of commissions to paint hunts with their packs of hounds. He remained active into his old age. In the 1780s he produced a pastoral series called Haymakers and Reapers, and in the early 1790s he enjoyed the patronage of the Prince of Wales, whom he painted on horseback in 1791. His last project, begun in 1795, was A comparative anatomical exposition of the structure of the human body with that of a tiger and a common fowl, engravings from which appeared between 1804 and 1806. Stubbs's son George Townly Stubbs was an engraver and printmaker.