Simon Marcus Larson, född 5 januari 1825, Lilla Örsätter, Åtvidaberg, död 25 januari 1864 i London, var en svensk målare. Han tillhörde Dusseldorfskolan och skildrade naturens krafter på ett romantiskt och dramatiskt sätt. Larson hade en kort karriär och avled vid 39 års ålder, men ses ändå som en av Sveriges främsta 1800-talskonstnärer. 1856 var Larson i Dusseldorf och på julafton skissade han på ett solnedgångsmotiv vid den bohuslänska kusten, men Larson drömde om att måla en större tavla, hans atelje var alltför trång. Så en dag när han satt i stans populäraste caf?? och drack öl fick han id??n att han skulle måla i caf??lokalen. Sagt och gjort så hyrde han lokalen i 14 dagar. Duken han spände upp var 10-12 fot hög och 18 fot bred. Efter 10 dagar var tavlan klar. Tavlan ställdes ut på akademien och det byggdes en utsiktsramp för att åskådarna skulle få en överblick över tavlan, priset var 5 Silbergroschen per titt och det annonserades att intäkterna skulle gå till välgörande ändamål, vilket fick stort uppseende, särskilt bland övriga konstnärer, utställningen varade mellan 25 jan. och 15 feb. 1857 Tavlan ställdes också ut bland annat i Köln och Berlin sedan till Salon Carre i Paris där den hyllades. Därefter ställdes den också ut i Stockholm där Larson tänkte skänka tavlan till staten tillsammans med köpet av Vattenfall i Småland, men då Larson på hösten inte fick sälja nämnda tavla tog han ned den stora tavlan och tog den med sig när han lämnade Sverige och fortsatte sina resor, han visade den under några år, sista gången någon skrivit om tavlan var 1863, Efter Larsons död i London försvann tavlan.  Related Paintings of marcus larson :. | Skepp pa stormigt hav | Skepp pa stormigt hav | Nattlig marin med brinnande fartyg | Waterfall in Smaland | Waterfall in Smaland |
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Thomas Uwins
English Painter, 1782-1857 English painter and illustrator. He was apprenticed to the line-engraver Benjamin Smith (d 1833) in 1797, but his greater interest in portrait painting led him to take life classes at the Royal Academy, London; he exhibited portraits there from 1799. Versatile and industrious, he painted miniature likenesses, taught drawing, designed and engraved illustrations for books in French, Portuguese and English, and wrote for and illustrated Rudolph Ackermann's Repository. His half-a-crown watercolours, known as 'pretty faces', were particularly popular, and he found employment as an assiduous copyist. In 1809 he was elected to the Society of Painters in Water-Colours and for the next nine years exhibited careful and colourful images of the countryside that provided views of the year's harvest. In 1817 Uwins travelled to France to record the Burgundian grape harvest, identifying the labour force more obviously as peasants than their English counterparts. In debt, he moved in 1820 to Edinburgh, where he illustrated books by Walter Scott and painted portraits. In 1824, his debt paid, he left for Italy, where he spent seven years; he sent highly valued copies of Italian works back to England (to Thomas Lawrence among others) and made studies of life in and around Rome and Naples, from which his later successes at the Royal Academy derived. An immodest Protestant, Uwins deplored but revelled in the 'polluted streams' of Catholic Italy, and provided London with oils renowned for their clarity and colour. A Neapolitan Saint Manufactory (exh. RA 1832; Leicester, Mus. & A.G.) shows monks haggling, women gazing and children playing amid carved and painted icons.
Benjamin Duterrau
1767 - 1851 , was an artist in England and in early colonial Australia. Duterrau was was born in London to parents of French descent. Duterrau was apprenticed to an engraver and in 1790 did two coloured stipple engravings after Morland, The Farmer's Door and The Squire's Door. Taking up painting, between 1817 and 1823 he exhibited six portraits at Royal Academy exhibitions, and he also exhibited three genre pieces at the British Institution about the same period. Duterrau emigrated to Van Diemen's Land (now Tasmania), arriving in August 1832 with his daughter. He lived at the corner of Campbell and Patrick Streets in Hobart, and practised as a portrait painter. In 1835 he did some etchings of Indigenous Australians, the first examples of that craft to be done in Australia. His most famous painting The Conciliation is in the Hobart gallery with a self-portrait and other works, including some modelling in relief. A large landscape is in the Beattie collection at Launceston, and he is also represented in the Dixson collection at Sydney. Duterrau died at Hobart in 1851.
Jean Baptiste Weenix
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