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 :. | Four Cows | A Brown and a White Horse in Scheveningen | Reclining nude | Lunch Break at the Building Site in the Van Diemenstraat in Amsterdam | The Lauriergracht at the Tweede Laurierdwarsstraat |
Related Artists:BREENBERGH, Bartholomeus
Dutch Baroque Era Painter, ca.1598-1657
Dutch painter, draughtsman and etcher. He was one of at least eight children of a wealthy Protestant family in Deventer, where his father was the town pharmacist. After his father's death in 1607, the family left Deventer, probably moving to Hoorn. No artist then living in Hoorn could plausibly have been Breenbergh's teacher, and given the fact that his earliest works reveal the stylistic influence of the Pre-Rembrandtists, it is more probable that he was apprenticed in Amsterdam. In 1619 he was called upon to give testimony in Amsterdam: on this occasion his profession was listed as 'painter'. His oeuvre can be divided stylistically and iconographically into two distinct groups. He belonged to the first generation of DUTCH ITALIANATES, northern artists who travelled to Italy in the 1620s and were inspired by the light and poetry of the southern landscape. The work of this period consists of numerous Italianate landscape drawings and paintings.Raden Saleh
(1807 or 1811 - April 23, 1880) is one of the best known painters from Indonesia and a pioneer of modern Indonesian art.
He was considered to be the first modern artist from the Dutch East Indies (now Indonesia), and his paintings corresponded with nineteenth-century romanticism which was popular in Europe at the time. He also expressed his cultural roots and inventiveness in his work.
Raden Saleh, was born into a noble Javanese family. He was grandson of Sayyid Abdullah Bustaman from his mother's side. His father was Sayyid Husen bin Alwi bin Awal bin Yahya, an indonesian of arab descent.
French painter. His father, a calligrapher and musician from Mayenne, moved to Paris in 1825 to take up a post as musician in the Tuileries. Ary Scheffer, whom Landelle met through his father's contact with the Orleans court, encouraged him to become a painter. He registered at the Ecole des Beaux-Arts on 2 October 1837 as a pupil of Paul Delaroche and made his debut at the Salon in 1841 with a Self-portrait (Laval, Mus. Vieux-Cheteau). His first success, Fra Angelico asking God for Inspiration , indicated a sentimental, religious tendency in his work, which alternated with pretty pictures of young girls. Charity. commissioned by Antoine Vivenel (1799-1862), was followed by Idyll and Elegy (untraced), which were bought by the dealer Adolphe Goupil on the opening day of the 1844 Salon. The contract to buy also included Goupil's right of first refusal on the reproduction of all Landelle's future work. Subsequently, he painted the Three Marys at the Tomb in the pious manner of Ary Scheffer and a sweet, angelic St Cecilia, commissioned in 1845 by the Prefect of the Seine, in which elements of the early Renaissance art seen by Landelle on a trip to Italy in 1845 combined with the soft, pale style common among some of his colleagues from the studio of Delaroche. He also painted religious works for St Roch (1850), St Germain l'Auxerrois (1856) and St Sulpice (1875) churches in Paris.