1806-1864 Scottish painter, educationalist, theorist and designer. The son of a lecturer in medicine at Marischal College, Aberdeen, he studied medicine and theology, obtaining his Master's degree in 1823. Episcopalian by upbringing, Dyce was expected, like his cousin, the scholar and bibliophile Alexander Dyce (1798-1869), to proceed to Oxford to take orders. His early interest in art found an outlet in portraiture, his first commission being Sir James M. D. M'Grigor (1823; U. Aberdeen). His first attempt at history painting, The Infant Hercules Strangling the Serpents sent by Juno to Destroy Him (1824; Edinburgh, N.G.), much influenced by Reynolds, was shown to Sir Thomas Lawrence, who is said to have encouraged Dyce to enter the Royal Academy Schools in 1825. After a few months he set off for Rome in the company of Alexander Day;  Related Paintings of William Dyce :. | Pegwell Bay, Kent - a Recollection of October 5th 1858 | Pegwell Bay | The Highland Ferryman | Pegwell Bay in Kent. | A Scene in Arran |
Related Artists:
August Jernberg
(16 September 1826 - 22 June 1896) was a Swedish artist who emigrated to Germany. In his early years he mainly painted portraits, and historical or biblical pictures. In the 1860s he became a genre and landscape painter. He studied at the Royal Swedish Academy of Arts in Stockholm 1843-1846 and then went to Paris, where he studied under Thomas Couture from 1847 to 1853. In 1854 he settled down in Desseldorf, and remained there until his death, with the exceptions of some shorter trips. Also his son Olof Jernberg (1855 - 1935) was an artist.
Vittore Carpaccio
Italian 1455-1526 Vittore Carpaccio Locations His name is associated with the cycles of lively and festive narrative paintings that he executed for several of the Venetian scuole, or devotional confraternities. He also seems to have enjoyed a considerable reputation as a portrait painter. While evidently owing much in both these fields to his older contemporaries, Gentile and Giovanni Bellini, Carpaccio quickly evolved a readily recognizable style of his own which is marked by a taste for decorative splendour and picturesque anecdote. His altarpieces and smaller devotional works are generally less successful, particularly after about 1510, when he seems to have suffered a crisis of confidence in the face of the radical innovations of younger artists such as Giorgione and Titian.
Ettore Cercone
1850-1896 Italian