1749-1840,was an English landscape painter. He was born at the Chertsey inn, kept by his father, in 1749, and apprenticed to an heraldic painter. Daniell, however, was animated with a love of the romantic and beautiful in architecture and nature. Up to 1784 he painted topographical subjects and flower pieces. By this time his two nephews had come under his influence, the younger, Samuel, being apprenticed to Medland the landscape engraver, and the elder, William, being under his own care. In this year (1784) he embarked for India accompanied by William Daniell, and found at Calcutta ample encouragement. Here he remained ten years, and on returning to London he published his largest work, Oriental Scenery, in six large volumes, not completed till 1808. From 1795 until 1828 he continued to exhibit Eastern subjects, temples, jungle hunts, &c., and at the same time continued the publication of illustrated works. These are Views of Calcutta; Oriental Scenery, 144 plates; Views in Egypt; Excavations at Ellora; Picturesque Voyage to China. These were for the most part executed in aquatint.   Related Paintings of Thomas Daniell :. | Here descent of the holy spirit | The Professor | The Artist Studio | Adam and Eve (mk06) | The Countess of clanbrassil |
Related Artists:
Heinrich von Angeli
1840 - 1925 Austrian painter. In 1853 he moved to Vienna to live with his uncle, who was a collector and a friend of the painters Friedrich von Amerling and Mathias Ranftl (1805-54). Angeli's early Self-portrait reflects the precocious maturity of his style, and in 1854 he enrolled at the Akademie der Bildenden K?nste in Vienna. In 1856, on the advice of Amerling, he went to study under Emanuel Gottlieb Leutze in D?sseldorf, where he executed one of his most significant history paintings, Mary Stuart Reading her Death Warrant (1857). In 1859 he moved to Munich, where he worked independently and was encouraged by Karl Theodor von Piloty, producing the history paintings Ludwig XI and Franz de Paula (1859) and Antony and Cleopatra for Ludwig I of Bavaria. In 1862 he again settled in Vienna, where he enjoyed increasing success. The life-size portrait of Baronin Seidler and the genre painting Avengers of Honour (1869), both exhibited at the Weltausstellung in Vienna in 1873, secured his reputation. After brief stays in Paris and Berlin (c. 1866), he went in 1871 to Italy, where he painted numerous portraits and the genre work Absolution Denied. His final genre paintings, Youthful Love (sold London, Sotheby's, 3 Oct 1980) and Calabrian Shepherd Couple, also date from this year. Henceforth he devoted himself entirely to portrait painting, receiving important commissions from such aristocratic circles as the Kinsky and Auersperg families (e.g. Graf Anton Alexander Auersperg, 1876; Vienna, Pr?sidium des Nationalrates). Whereas his early portraits were influenced by Amerling, Anton Einsle and 17th-century Dutch art, from the 1870s he developed his own elegant and restrained style. This helped him to obtain commissions at the courts of Vienna, St Petersburg and London
Robert Wadsworth Grafton
United States (1876 - 1936 ) - Painter
POTTER, Paulus
Dutch Baroque Era Painter, 1625-1654 Son of Pieter Potter. He was related through his mother, Aechtie Pouwels (d 1636), to the wealthy and powerful von Egmont and Semeyns families, who held important offices in Enkhuizen and at the court in The Hague. He worked in his father's studio in Amsterdam during the 1630s and, like him, painted history subjects that show the strong influence of Claes Moeyaert, with whom Paulus may also have studied. In the painting Abraham Returning from Canaan he adapted the landscape setting from an etching by Moses van Uyttenbroeck and the figures from works by Moeyaert from over ten years earlier. Significantly, however, he redistributed the numerous animals and figures that Moeyaert had aligned evenly across the frontal plane; Potter placed them to one side, permitting a view into the deep distance where other animals can be seen. Potter followed his father more than Moeyaert in searching for ways to integrate his figures with the landscape,