1801-1848 Thomas Cole Galleries Thomas Cole (February 1, 1801 - February 11, 1848) was a 19th century American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism. In New York he sold three paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where he visited the Catskill Mountain House and painted the ruins of Fort Putnam. Returning to New York he displayed three landscapes in the window of a bookstore; according to the New York Evening Post, this garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Among the paintings was a landscape called "View of Fort Ticonderoga from Gelyna". Trumbull was especially impressed with the work of the young artist and sought him out, bought one of his paintings, and put him into contact with a number of his wealthy friends including Robert Gilmor of Baltimore and Daniel Wadsworth of Hartford, who became important patrons of the artist. Cole was primarily a painter of landscapes, but he also painted allegorical works. The most famous of these are the five-part series, The Course of Empire, now in the collection of the New York Historical Society and the four-part The Voyage of Life. There are two versions of the latter, one at the National Gallery in Washington, D.C., the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. Cole spent the years 1829 to 1832 and 1841-1842 abroad, mainly in England and Italy; in Florence he lived with the sculptor Horatio Greenough.  Related Paintings of Thomas Cole :. | the course of empire destruction | The Vale and Temple of Segesta | Landscape Composition Saint John in the Wilderness (mk13) | Brock s Monumenttoday | The dream of the architect |
Related Artists:
Raimundo de Madrazo y Garreta
Spanish realist Painter , 1841-1920 Son of Federico de Madrazo y K?ntz. Because of his ability and training with his father, Federico, in the Real Academia de S Fernando in Madrid and with L?on Cogniet in Paris, he seemed destined to continue the family tradition of academic painting. However, due to the influence of the Belgian Alfred Stevens, of his brother-in-law, Mariano Jos? Bernardo Fortuny y Marsal, and the Parisian environment, he exchanged dry historical painting (e.g. Arrival in Spain of the Body of the Apostle St James, 1858, and Ataulfo, 1860) for the preciousness of the tableautin, the small, intimate genre painting. He lived in Paris and New York and became so remote from Spanish artistic life that he and Fortuny y Marsal were the only Spanish artists not to participate in any national exhibition, and because of this the Spanish state never directly acquired their works. In 1882, with Giuseppe De Nittis, Stevens and the gallery owner Georges Petit, he co-founded the Exposition Internationale de Peinture, designed to promote foreign artists in Paris. Madrazo Garreta's most characteristic works are the female portrait and the witty and elegant genre painting, with soft, delicate tones and suggestive poses. The influence of the Rococo and of Japanese art is reflected in his painting, which expresses an exquisite aristocratic or bourgeois ideal, the illusion of a refined, sensual and superficial life. Consequently,
Prince, Jean-Baptiste le
French Painter, 1734-1781 was an important French etcher and painter. Le Prince first studied painting techniques in his native Metz. He then travelled to Paris around 1750 and became a leading student of the great painter, Francois Boucher (1703-1770). Le Prince's early paintings in both theme and style are comparable to his master's rococo techniques. In 1758 Le Prince journeyed to Russia to work for Catherine the Great at the Imperial Palace, St. Petersburg. He remained in Russia for five years and also travelled extensively throughout Finland, Lithuania and even Siberia. When Le Prince returned to Paris in December, 1763, he brought with him an extensive collection of drawings which he employed as the basis for a number of fine paintings and etchings. J. B. Le Prince was elected a full member of the Academie de peinture et de sculpture in 1765. Le Prince's graphic art of Russia and its peoples is significant in that he based his compositions entirely upon his own designs, lending a much more realistic portrayal to his views than other eighteenth century contemporaries. He is also credited with being the first artist (in 1768) to introduce aquatint into his etched and engraved plates. He may even have been the inventor of aquatint, the tonal graphic art that would later be so skillfully used by such masters as Goya,
Jacob Duck
1600-1667 Dutch Jacob Duck Location Dutch painter and etcher. He was long confused with Jan le Ducq (1629/30-76). In 1621 he was listed as an apprentice portrait painter in the records of the Utrecht Guild of St Luke. His teacher was probably Joost Cornelisz. Droochsloot (1586-1666). The St Job Hospital in Utrecht acquired a Musical Company by him in 1629. By 1630-32 he was a master in the guild. Like Pieter Codde, he painted guardroom scenes (kortegaerdjes), for example Soldiers Arming Themselves (c. 1635; New York, H. Shickman Gal., see 1984 exh. cat., no. 36) or the Hoard of Booty (Paris, Louvre), in which the figures and their interactions are apparently full of underlying symbolic meaning. He also painted merry companies (e.g. c. 1630; Names, Mus. B.-A.) and domestic activities, such as Woman Ironing (Utrecht, Cent. Mus.), employing motifs perhaps symbolic of domestic virtue. He placed his figures in high, bare interiors in which the deep local colours of the foreground stand out well against the cool, greyish-brown background. Only a few of his etchings are known (Hollstein, Dut. & Flem., vi, pp. 9-11), depicting figures in contemporary dress, for example Young Gentleman with Broad Hat and Cloak (Hollstein, no. 10) or Virgin and Child with Magi (nos 1-4). Between 1631 and 1649 Duck presence is documented in Utrecht, Haarlem and Wijk bij Duurstede. Afterwards, and probably by 1656, he was living in The Hague. He was buried at the monastery of St Mary Magdalene in Utrecht.