Edouard Vuillard
Edouard Vuillard's Oil Paintings
Edouard Vuillard Museum
November 11, 1868-June 21, 1940. French painter.

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antonin dvorak
a concert given by the young mozart in the redoutensaal of the schonbrunn palace in vienna

ID: 60261

antonin dvorak a concert given by the young mozart in the redoutensaal of the schonbrunn palace in vienna
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antonin dvorak a concert given by the young mozart in the redoutensaal of the schonbrunn palace in vienna


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antonin dvorak

Named after Prince Antoni Radziwiłł, who built a wooden summer residence here between 1822 and 1824 for his family. The Radziwiłł family played an important role in Polish?CLithuanian history over several centuries and owned lands larger than the state of Belgium.   Related Paintings of antonin dvorak :. | Seleznev s | a romantic artist s impression of mozart composing | painted by hans hansen in | leopold mozart and his two talanted children, maria anna andwolfgbag | a concert given by the young mozart in the redoutensaal of the schonbrunn palace in vienna |
Related Artists:
Joseph Paelinck
Belgian Painter, 1781-1839, Flemish painter. The son of a farmer, he studied at the Academie in Ghent. He exhibited for the first time in 1802 at the Ghent Salon, then left for Paris where he was admitted into Jacques-Louis David's studio. In 1804 his Judgement of Paris (Ghent, Mus. S. Kst.) obtained a prize at the Ghent Salon. The first of numerous commissions that followed was for St Colette (1806; Ghent, St Baaf), which was in keeping with the contemporary Historicist vogue. In 1808 he was commissioned to paint a portrait of the Empress Josephine (Ghent, Mus. S. Kst.), and in the same year the town of Ghent granted him an allowance for four years of study in Rome where, with other former pupils of David, he took part in the decoration of the Palazzo del Quirinale; his contribution, Augustus Ordering the Adornment of Rome, is untraced. While in Italy he also painted a Neo-classical Invention of the Cross (1812; Ghent, St Michel), inspired by Raphael. In 1812 he returned to Ghent and in 1815 moved to Brussels to paint the portrait of William, Prince of Orange (1818; Brussels, H?tel de Ville). He painted several religious subjects, including a Crucifixion (1817; Sleidinge, St Joris) and the Disciples at Emmaus (Everghem Church), which have links with the 17th-century French tradition. Among the portraits he executed in this period is the Snoy Family
Fiske Warren
Frederick Fiske Warren (2 July 1862-2 February 1938) was a hugely successful Paper Manufacturer, fine arts denizen and major supporter of Henry George's Single Tax system which he helped develop in Harvard, Massachusetts, United States in the 1930's. He was the son of Samuel Dennis Warren and Susan Cornelia Warren of Beacon Hill, Boston, Massachusetts and the brother to Samuel D. Warren (US attorney) and Edward Perry Warren. Born in Waltham, Massachusetts, Fiske was raised in a mansion on 67 Mount Vernon Street[1] in Beacon Hill, Boston, Massachusetts. A philanthropic and highly educated family, the Warren brothers and sisters all enjoyed tranquil childhoods growing up between the family homes in Boston and Waltham, Massachusetts, also known as "Cedar Hill".
Philippe Rousseau
Paris 1816 - Acquigny 1887. French Painter. French Painter. French painter. He may have received his artistic training in the studios of Gros and Jean-Victor Bertin, since he credited them as his masters when he exhibited at the Salon. He began exhibiting in 1834 with a View of Normandy (untraced) and for the next six Salons he exhibited landscapes. In 1844 he began to show still-lifes. In 1845 he was awarded a third-class medal, and in 1847 his still-lifes were admired by Th?ophile Thor?, who was one of the earliest critics to recognize Rousseau's debt to Chardin. This influence became the subject for his 1867 Salon entry, Chardin and his Models (untraced, see McCoubrey, no. 15). The work is far grander and more cluttered in its conception than most still-lifes by Chardin and alludes to the master by faithfully reproducing some of his favourite objects within a traditional table-top format rather than by an analysis of his compositional devices.






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