Vincent van Gogh
Vincent van Gogh's Oil Paintings
Vincent van Gogh Museum
1853 – 1890. Dutch post-Impressionist painter.

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George Hendrik Breitner
Cavalry at Rest

ID: 88236

George Hendrik Breitner Cavalry at Rest
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George Hendrik Breitner Cavalry at Rest


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George Hendrik Breitner

Dutch Painter, 1857-1923 Dutch painter and photographer. He trained as a painter and draughtsman at the academy in The Hague. Although the Dutch painter Charles Rochussen taught the students history and landscape painting, Breitner's interests did not lie in this area. In 1880 he worked for a year in the studio of Willem Maris after his academy training. Maris belonged to the Hague school of painters, who worked in the plein-air tradition of the French Barbizon school. Breitner painted outdoor life with them, although it was not the picturesqueness of the landscape or the Dutch skies that appealed to him. With Van Gogh he roamed the working-class districts of The Hague and through the dockyards of Rotterdam. Both artists recorded the vitality of city life in their sketchbooks. Breitner consciously chose these themes and motifs: he wanted to paint people going about their daily lives  Related Paintings of George Hendrik Breitner :. | An Evening on the Dam in Amsterdam | Women on the Rokin | The Dam | Girl in Red in Red Kimono (nn02) | Demolition of the Grand Bazar de la Bourse in Amsterdam at the Nieuwendijk |
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Alesso Baldovinetti
(October 14, 1427??August 29, 1499) was an Italian early Renaissance painter. Baldovinetti was born in Florence to a family of a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore." He was a follower of the group of scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Tradition says that he assisted in the decorations of the church of S. Egidio, however no records confirm this. These decoration were carried out during the years 1441 - 1451 by Domenico Veneziano and in conjunction with Andrea del Castagno. That he was commissioned to complete the series at a later date (1460) is certain. In 1462 Alesso was employed to paint the great fresco of the Annunciation in the cloister of the Annunziata basilica. The remains as we see them give evidence of the artist's power both of imitating natural detail with minute fidelity and of spacing his figures in a landscape with a large sense of air and distance; and they amply verify two separate statements of Vasari concerning him: that "he delighted in drawing landscapes from nature exactly as they are, whence we see in his paintings rivers; bridges, rocks, plants, fruits, roads, fields, cities, exercise grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters. His favourite method in wall-painting was to lay in his compositions in fresco and finish them a secco with a mixture of yolk of egg and liquid varnish. This, says Vasari, was with the view of protecting the painting from damp; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure. In 1463 he furnished a cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the sacristy of the cathedral and still exists. From 1466 date the groups of four Evangelists and four Fathers of the Church in fresco, together with the Annunciation on an oblong panel, which still decorate the Portuguese chapel in the basilica of San Miniato, and are given in error by Vasari to Piero Pollaiuolo. A fresco of the risen Christ between angels inside a Holy Sepulchre in the chapel of the Rucellai family, also still existing, belongs to 1467. In 1471 Alesso undertook important works for tile church of Santa Tr??nita on the commission of Bongianni Gianfigliazzi. First, to paint an altar-piece of the Virgin and Child with six saints; this was finished in 1472: next, a series of frescoes from the Old Testament which was to be completed according to contract within five years, but actually remained on hand for fully sixteen. In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand gold forms by a committee consisting of Cosimo Rosselli, Benozzo Gozzoli, Perugino and Filippino Lippi; only some defaced fragments of it now remain.
Jan Miense Molenaer
Dutch Baroque Era Painter, ca.1610-1668 was a Dutch genre painter whose style was a precursor to Jan Steen's work during Dutch Golden Age painting. He shared a studio with his wife, Judith Leyster, also a genre painter, as well as a portraitist and painter of still-life. Both Molenaer and Leyster may have been pupils of the successful Dutch painter, Frans Hals. Molenaer achieved a style close to Hals early on in his career, but later developed a style like that of Dutch genre painter, Adriaen van Ostade. His genre works often depicted players of music, such as his The Music Makers (Museum of Fine Arts, Budapest), The Duet ((Seattle Art Museum), or Family Making Music (Frans Hals Museum). He also depicted Taverns and the activities of card games or games of the times such as La main chaude, or in Dutch, Handjeklap, which literally means clapping hands. Molenaer also cleverly depicted biblical stories in his own time and surroundings, such as representing a scene from Peter's Gospel set in a Dutch Tavern in, The Denying of Peter (Museum of Fine Arts, Budapest)
Juliusz Kossak
(Nowy Wiśnicz, 15 December 1824 - 3 February 1899, Krakew) was a Polish historical painter and master illustrator who specialized in battle scenes, military portraits and horses. He was the progenitor of an artistic family that spanned four generations. father of painter Wojciech Kossak and grandfather of painter Jerzy Kossak. Juliusz Kossak grew up in Lwew during the military partitions of Poland. He obtained a degree in law at the Lwew University encouraged by his mother. At the same time he studied painting with Jan Maszkowski and Piotr Michałowski. Beginning in 1844 Kossak worked on commissions for the local aristocracy in Malopolska, Podolia and Wolyn. He married Zofia Gałczyka in 1855 and together they left for Paris where they spent five years. His sons were born there, the twin brothers: Wojciech and Tadeusz (on New Year's Eve 1856-1857) and the younger Stefan in 1858. The family came to Warsaw in 1860 where Kossak obtained a position as the head illustrator and engraver for Tygodnik Illustrowany magazine. They moved to Munich for a year and in 1868 settled in Krakew blessed with five children already. Kossak bought a small estate there, known as Kossakewka, famed for artistic and literary salon frequented by Adam Asnyk, Henryk Sienkiewicz, Stanisław Witkiewicz, Jezef Chełmoki and many others. Juliusz Kossak lived and worked there till the end of his life. In 1880 he was awarded the Cross of Order of Merit by Emperor Franz Joseph of Austria-Hungary for his lifetime achievements as an artist.






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