Australian Painter, 1827-1886 was an Australian colonial artist. Dowling was born in England the youngest son of Rev. Henry Dowling and his wife Elizabeth, nee Darke. He was brought to Launceston, Tasmania with his parents in 1839 in the Janet. He received lessons from Thomas Bock and Frederick Strange, and in 1850 advertised as a portrait painter. In 1856 Dowling left for London partly with the help of friends in Launceston. He exhibited 16 pictures at the Royal Academy between 1859 and 1882 and others at the British Institute. Returning to Launceston he afterwards came to Melbourne and painted portraits of Sir Henry Loch, Dr James Moorhouse, Francis Ormond, and others. He went to London again in 1886 but died shortly after his arrival. Dowling was a conscientious painter of figure subjects, often scriptural or eastern.   Related Paintings of Robert Dowling :. | Mis Annie Ware | Group of Natives of Tasmania | An afternon siesta | Group of Natives of Tasmania | Tasmanian Aborigines |
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Arthur hacker,R.A.
1858-1919 was an English classicist painter. Born in London in 1858, Hacker was the son of Edward Hacker, a line engraver specialising in animal and sporting prints (who was also for many years the official Registrar of Births, Marriages and Deaths for Kentish Town in the St Pancras registration district, north London). In his art he was most known for painting religious scenes and portraits, and his art was also influenced by his extensive travels in Spain and North Africa. He studied at the Royal Academy between 1867 and 1880, and at the Atelier Bonnat in Paris. He was twice exhibited at the Royal Academy, in 1878 and 1910, and was elected an Academician in 1910. In 1894 he was the subject of a bust by Edward Onslow Ford. An original portrait by Hacker of Sir Alfred Keogh by hangs in the RAMC HQ Mess at Millbank, London. He died in London on November 12, 1919. In 1902,
Ernest Duez
1843-1896 French Ernest Duez Location French painter. He studied under Isidore-Alexandre-Augustin Pils and made his debut at the Salon in 1868. One of his earliest paintings, The Honeymoon (1873), caused a scandal at the Salon owing to its depiction of two lovers in modern dress walking through a sunlit forest. His triptych St Cuthbert (1879; Paris, Pompidou) was hailed as a masterpiece of modern art and bought by the State for the Musee du Luxembourg in Paris. The painting depicts the stages of St Cuthbert life, from child to hermit. Contemporary viewers were struck by the artist use of a real landscape setting, based on Villerville in Normandy where Duez spent much of his time. In addition to genre, religious and history paintings, in 1876 he began to produce portraits: Alphonse de Neuville (1880; Versailles, Cheteau) is a typical example. His brooding, suggestive portrait of Mme Duez (1877; see Montrosier, 1896, p. 429) shows the influence of Symbolism. However, he soon returned to painting works that were essentially landscapes, such as the decorative panel Virgil Seeking Inspiration in the Woods (1888) for the Sorbonne and a pair of allegorical figures, Botany and Physics (1892), for the Hetel de Ville in Paris. He also devoted time to applied art, producing a variety of textile designs. His work was praised for its adept use of colour and for bringing what were seen as modern techniques to traditional subjects.
Wilhelm Leibl
German Realist Painter, 1844-1900 German painter, draughtsman and etcher. In 1861 he abandoned his apprenticeship as a locksmith in order to train as a precision instrument maker, though a month or so later he decided to train as an artist, at first under the Cologne history painter and writer Hermann Becker (1817-85). In 1863 he moved to Munich; he studied there from March 1864, at the Akademie der Bildenden K?nste, initially under Philipp von Foltz and Alexander Straehuber, drawing from plaster casts, and later in Hermann Ansch?tz's painting class. Here, Arthur von Ramberg (1819-75) stimulated Leibl's sensitivity to colour; and Karl Theodor von Piloty encouraged him to observe reality and incorporate its lessons boldly into compositions on historical themes. From the start, however, Leibl tended to think of his pictures in terms of form rather than content. While at the Akademie he first reached a standard of excellence with his draughtmanship, which is notable for its directness and objectivity. As an artist, Leibl's early works were not especially promising. However, as occurred throughout his career, a long period of mediocrity was crowned by an unexpected masterpiece, such as his portrait drawing of Aunt Josepha (c. 1864; Cologne, Wallraf-Richartz-Mus.). This is particularly striking for Leibl's use of the hands to add to the expression of the sitter's character and mood, a device he was to use frequently in later work. In Munich, Leibl supplemented the teaching of the Akademie by studying the works of the Old Masters in the Alte Pinakothek: he paid particular attention to painters of the Baroque period such as van Dyck, Cornelis de Vos and Rubens, and also to other great masters of portraiture such as Frans Hals and Vel?zquez. The presentation of the subject found in such works is reflected in Leibl's portrait of Frau Gedon (1869; Munich, Neue Pin.). When the work was shown at the Grossen Internationale Kunstausstellung in Munich in 1869 it was singled out as the best oil painting of the exhibition by Gustave Courbet and, as a result, Leibl was honoured with an invitation to Paris, where he arrived on 13 November 1869.