British Painter, 1793-1881 was born in Lumley Park, County Durham. In 1808, after the death of William's mother, the family moved the few miles to Brancepeth where his father became rector of St Brandon's Church. His stepmother was Marianne Mills of Willington Hall, whose nephew was the noted architect Anthony Salvin. William's younger sister in fact married Salvin. Nesfield was educated at Durham School, then located on Palace Green, before entering the army. He fought under Wellington in Spain and at Waterloo and also served for two years in Canada. He retired in 1816 and took up a career as a painter of watercolours, particularly of waterfalls, earning the praise of John Ruskin in Modern Painters. While still exhibiting at the Old Water Colour Society, Nesfield began work as a professional landscape architect, with the encouragement of Salvin. From 1840 until his death he was responsible, either singly or with his sons Arthur Markham and William Eden for no fewer than 259 commissions in the British Isles.   Related Paintings of William Andrews Nesfield :. | The Bouquet | Kakas tyukokkal. | Christ healing the Paralytic at the Pool of Bethesda | The Adoration of the Shepherds (detail) | Peace-burial at sea (mk31) |
Related Artists:
Helmer Osslund
Swedish, 1866-1938
Anna Ancher
Danish Painter, 1859-1935 was the only one of the Skagen Painters that was actually born in Skagen, Denmark. Anna Ancher was born and grew up in the northernmost area of Jutland, called Skagen (the Skaw). Her talent became obvious at an early age and she grew acquainted with pictorial art via the many artists who settled to paint in Skagen. Anna Ancher studied drawing for 3 years at the Vilhelm Kyhn College of Painting in Copenhagen. However, Anna Ancher developed her own style and was a pioneer in observing the interplay of different colours in natural light. She also studied drawing in Paris at the atelier of Pierre Puvis de Chavannes along with Marie Triepcke, who would marry Peder Severin Krøyer, another Skagen painter. In 1880 she married fellow painter Michael Ancher, whom she met in Skagen. They had one daughter, Helga Ancher. Despite pressure from society that married women should devote themselves to household duties, she continued painting after marriage. Anna Ancher is considered to be one of the great Danish pictorial artists by virtue of her abilities as a character painter and colourist[citation needed]. Anna Ancher's art found its expression in Nordic art's modern breakthrough towards a more truthful depiction of reality, e.g. in Blue Ane (1882) and The Girl in the Kitchen (1883-1886). Anna Ancher preferred to paint interiors and simple themes from the everyday lives of the Skagen people and fishermen,
Abraham Wuchters
Abraham Wuchters (1608 - 23 May 1682) was a Dutch-Danish painter and engraver. He was born in Antwerp but had most of his career in Denmark where he, along with Karel van Mander III, was the preferred painter of the Danish King, nobility and Bourgeoisie during his day, together they represent the main influence from the Dutch Golden Age on Danish Baroque art. Wuchters was born in Antwerp in 1608. He arrived in Denmark in 1638 and was, the following year, employed as sketching master at Sorø Academy. Around the same time, he was summoned to Copenhagen where he painted several portraits of King Christian IV. In 1645 he returned to Copenhagen Castle to portray the King's children, including lrik Christian Gyldenløve (c. 1645, Danish National Gallery) and Duke Frederik (III) (c. 1645, Amalienborg Palace). In two periods, between 1658 and 1662, he worked at the Royal Swedish Court in Stockholm where he portrayed Queen Consort Christina (1660, Uppsala University and 1661, Stockholm Castle), Charles X Gustav and Hedvig Eleonora. Back in Denmark, Wuchters was engaged by Frederick III, who had instituted Denmark as an absolute monarchy in 1660, with responsibility for the maintenance of his paintings. n 1671 the new king, Christian V, appointed him as official Painter to the Danish Coirt and in 1873 he was also made official Engraver to the Danish Court. It was, therefore, he alone who decided how the face of the absolutist King was to be represented.