(May 15, 1827 - November 27, 1908) was a Norwegian painter, art teacher and master artist. In his art, he frequently portrayed the lives of the Norwegian people, their history and heroes of the past. Bergslien is most associated with his historical paintings, especially Skiing Birchlegs Crossing the Mountain with the Royal Child. Knud Larsen Bergslien was born in Voss, in Hordaland, Norway. His parents were Lars Bergeson Bergslien and Kirsten Knutsdotter Gjelle. Knud Bergslien was the brother of sculptor Brynjulf Bergslien and uncle of painter and sculptor Nils Bergslien. Monuments honoring the three famous Bergslien artists now exist in Bergslien park located in Voss, Hordaland  Related Paintings of Knud Bergslien :. | Blomstrende haveeksterir med tre kvinder ved et bord | Fjordbunn | Painting of Konrad von Maurer | Portrait of norwegian author Peter Christen Asbjornsen | Birkebeinerne pa Ski over Fjeldet med Kongsbarnet |
Related Artists:
Franz von Stuck
German Symbolist/Expressionist Painter and Sculptor, 1863-1928 Stuck was born at Tettenweis, in Bavaria. From an early age he displayed an affinity for drawing and caricature. To begin his artistic education in 1878 he went to Munich, where he would settle for life. From 1881 to 1885 Stuck attended the Munich Academy. He first made a name with cartoons for Fliegende Blätter, and vignette designs for programmes and book decoration. In 1889 he exhibited his first paintings at the Munich Glass Palace, winning a gold medal for The Guardian of Paradise. In 1892 Stuck co-founded the Munich Secession, and also executed his first sculpture, Athlete. The following year he won further acclaim with the critical and public success of what is now his most famous work, The Sin. Also in 1893, Stuck was awarded a gold medal for painting at the Chicago World's Fair and was appointed to a royal professorship. In 1895 he began teaching painting at the Munich Academy. In 1897 Stuck married an American widow, Mary Lindpainter, and began work designing his own residence and studio, the Villa Stuck. His designs for the villa included everything from layout to interior decorations; for his furniture Stuck received another gold medal at the 1900 Paris World Exposition. Having attained a high degree of fame by this time, Stuck was elevated to the aristocracy on December 9, 1905 and would receive further public honours from around Europe during the remainder of his life. Even as new trends in art left Stuck behind, he continued to be highly respected among young artists in his capacity as professor at the Munich Academy. Notable students of his over the years include Paul Klee, Hans Purrmann, Wassily Kandinsky, and Josef Albers. Franz von Stuck died in 1928; his funeral address memorialized him as "the last prince of art of Munich's great days". He is buried in the Munich Waldfriedhof next to his wife Mary.
Jean-Honore Fragonard
French Rococo Era Painter, 1732-1806 was a French painter and printmaker whose late Rococo manner was distinguished by remarkable facility, exuberance, and hedonism. One of the most prolific artists active in the last decades of the Ancien Regime, Fragonard produced more than 550 paintings , of which only five are dated. Among his most popular works are genre paintings conveying an atmosphere of intimacy and veiled eroticism. He was born at Grasse, Alpes-Maritimes, the son of François Fragonard, a glover, and Françoise Petit. He was articled to a Paris notary when his father's circumstances became strained through unsuccessful speculations, but showed such talent and inclination for art that he was taken at the age of eighteen to François Boucher, who, recognizing the youth's rare gifts but disinclined to waste his time with one so inexperienced, sent him to Chardin's atelier. Fragonard studied for six months under the great luminist, then returned more fully equipped to Boucher, whose style he soon acquired so completely that the master entrusted him with the execution of replicas of his paintings. Though not yet a pupil of the Academy, Fragonard gained the Prix de Rome in 1752 with a painting of "Jeroboam Sacrificing to the Golden Calf", but before proceeding to Rome he continued to study for three years under Charles-Andre van Loo. In the year preceding his departure he painted the "Christ washing the Feet of the Apostles" now at Grasse cathedral. On September 17, 1756, he took up his abode at the French Academy in Rome, then presided over by Charles-Joseph Natoire. While at Rome, Fragonard contracted a friendship with a fellow painter, Hubert Robert. In 1760, they toured Italy together, executing numerous sketches of local scenery. It was in these romantic gardens, with their fountains, grottos, temples and terraces, that Fragonard conceived the dreams which he was subsequently to render in his art. He also learned to admire the masters of the Dutch and Flemish schools (Rubens, Hals, Rembrandt, Ruisdael), imitating their loose and vigorous brushstrokes. Added to this influence was the deep impression made upon his mind by the florid sumptuousness of Giovanni Battista Tiepolo, whose works he had an opportunity to study in Venice before he returned to Paris in 1761. In 1765 his "Coresus et Callirhoe" secured his admission to the Academy. It was made the subject of a pompous (though not wholly serious) eulogy by Diderot, and was bought by the king, who had it reproduced at the Gobelins factory. Hitherto Fragonard had hesitated between religious, classic and other subjects; but now the demand of the wealthy art patrons of Louis XV's pleasure-loving and licentious court turned him definitely towards those scenes of love and voluptuousness with which his name will ever be associated, and which are only made acceptable by the tender beauty of his color and the virtuosity of his facile brushwork;
Cordelia Creigh Wilson
(28 November 1873, Georgetown, Colorado - 7 June 1953, Seattle, Washington) was a painter noted for her landscapes of New Mexico and the American Southwest. Cordelia "Cordie" Creigh was born in Clear Creek County, Colorado. Her father died in her early childhood, and she was raised by her mother, Emma Creigh who shuttled the family between Winfield, Kansas and Colorado. She married Willard Wilkinson in Boulder, Colorado in 1897 and gave birth to her only child, Louise, in Hayden the next year, however, the couple divorced shortly after the turn of the century. Cordelia then began to seriously develop her skills as an artist motivated by latest trends in American realism led by Robert Henri. Her academic training emphasized development of an alla prima technique and painting out of doors, which inspired her to produce bold impasto works quickly. She started making road trips to New Mexico and became friends with painters in the Taos Society of Artists and the Santa Fe art colony. Her numerous expressive oil sketches and en plein air canvases of adobe dwellings and rugged landscapes caught the attention of art dealers. Before the end of the First World War, Cordelia married John H. Wilson and took his surname for her entire professional career. They settled on Tremont Street in Denver, just around the corner from the J. Gibson Smith Gallery which displayed and sold her works. Many of her paintings had frames she hand-carved in rustic Arts and Crafts style and gilded with sheets of gold leaf. In 1917, Cordelia Wilson was honored by having two paintings selected for the inaugural exhibition of the new New Mexico Museum of Art in Santa Fe. The show featured easel works by George Bellows, Robert Henri, F. Martin Hennings, and Leon Kroll, who were working in the Southwest at that time, along with the "Taos Six" (Oscar Berninghaus, Ernest Blumenschein, Irving Couse, Herbert Dunton, Bert Geer Phillips, and Joseph Henry Sharp) and other members of the Taos Society. One of her paintings exhibited in the show, A Mexican Home, was reproduced in the January CFebruary 1918 issue of the journal Art and Archaeology (published by the Archaeological Institute of America) that featured a cover article about the museum's opening. Among Cordelia Wilson's largest landscapes is a 50" x 70" canvas, created for World War I military training. It was exhibited at the School of American Research of Santa Fe in 1917 with other large-scale so-called "Range Finder" paintings by Blumenschein, Berninghaus, Phillips, Gustave Baumann, Walter Ufer, Leon Gaspard, and others. They had been commissioned by the U.S. Army based on a proposal by the Salmagundi Club of New York, whose members wanted to make a special contribution to America's war effort. When the show closed, the works on display were shipped to Camp Funston at Fort Riley, Kansas and Camp Cody at Deming, New Mexico. The paintings were used for indoor instruction in range finding, topographical quizzes, and map drawing at Army camps. John Wilson, her husband, contracted tuberculosis in about 1921. The couple moved to the Seattle for his treatment at a sanitorium, where he passed away the following year. In 1923, Cordelia married for a third time to John N. Fahnestock, but this marriage ended in divorce in 1928. Cordelia continued to reside in Pacific Northwest producing still lifes, florals, and scenes of the Puget Sound region, although she periodically traveled, worked, and displayed her art in the Southwest.