1785-1847 German Georg Friedrich Kersting Gallery Kersting was a friend of Caspar David Friedrich, the leading German Romantic painter; his style was influenced by Friedrich, and he shared that artist's romantic attitude, although in a more subjective manner. The two friends went on a walking tour of the Riesengebirge in 1810. During his many hikes with Friedrich, the two painted numerous sketches and observations from nature. He may have painted the staffage in some of Friedrich's early work??such as Morning in the Riesengebirge (1810?C11), a result of their walking tour. He was also a friend of the painter Louise Seidler, who described him as "an altogether splendid and comical fellow" and often served as his model. In 1813 Seidler helped Kersting send a number of his works to Johann Wolfgang von Goethe. Goethe was impressed and recommended that the Grand Duke Charles Augustus purchase his work The Embroiderer. Kersting's most lasting works are his figures in interiors that borrow from seventeenth-century Dutch genre painting. These paintings nevertheless feel contemporary due to the situations depicted and the effect of the artist's personality. The characters are often viewed from the back, as in Friedrich's work, and the scenes provide hints of narrative as the figures engage privately in everyday activities. A number of his works refer to his time in the volunteer corps, the "L??tzow rangers". He drew a full-length self-portrait in 1813, in which he wore the rangers' uniform. The painting On Sentry Duty (1815) depicts three rangers, including the artist Ferdinand Hartmann and the writer Theodor Körner, who fought with Kersting and died in wars against the French.  Related Paintings of Georg Friedrich Kersting :. | Reader by Lamplight | Die Kranzwinderin | Man Reading by Lamplight (mk22) | Caspar David Friedrich in seinem Atelier | Vor dem Spiegel |
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Thomas Cole
1801-1848 Thomas Cole Galleries Thomas Cole (February 1, 1801 - February 11, 1848) was a 19th century American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism. In New York he sold three paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where he visited the Catskill Mountain House and painted the ruins of Fort Putnam. Returning to New York he displayed three landscapes in the window of a bookstore; according to the New York Evening Post, this garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Among the paintings was a landscape called "View of Fort Ticonderoga from Gelyna". Trumbull was especially impressed with the work of the young artist and sought him out, bought one of his paintings, and put him into contact with a number of his wealthy friends including Robert Gilmor of Baltimore and Daniel Wadsworth of Hartford, who became important patrons of the artist. Cole was primarily a painter of landscapes, but he also painted allegorical works. The most famous of these are the five-part series, The Course of Empire, now in the collection of the New York Historical Society and the four-part The Voyage of Life. There are two versions of the latter, one at the National Gallery in Washington, D.C., the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. Cole spent the years 1829 to 1832 and 1841-1842 abroad, mainly in England and Italy; in Florence he lived with the sculptor Horatio Greenough.
Edvard Munch
Norwegian 1863-1944 Edvard Munch Locations Edvard Munch (pronounced , December 12, 1863 ?C January 23, 1944) was a Norwegian Symbolist painter, printmaker, and an important forerunner of expressionistic art. His best-known composition, The Scream is one of the pieces in a series titled The Frieze of Life, in which Munch explored the themes of life, love, fear, death, and melancholy. Edvard Munch was born in a rustic farmhouse in the village of Adalsbruk in Loten, Norway to Christian Munch, the son of a prominent priest. Christian was a doctor and medical officer, who married Laura Cathrine Bjølstad, a woman half his age, in 1861. Edvard had an older sister, Johanne Sophie (born 1862), and three younger siblings: Peter Andreas (born 1865), Laura Cathrine (born 1867), and Inger Marie (born 1868). Both Sophie and Edvard appear to have gotten their art talent from their mother. Edvard Munch was related to painter Jacob Munch (1776?C1839) and historian Peter Andreas Munch (1810?C1863). The family moved to Kristiania (now Oslo) in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Edvard??s mother died of tuberculosis in 1868, as did Munch's favorite sister Johanne Sophie in 1877. After their mother's death, the Munch siblings were raised by their father and by their aunt Karen. Often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied. He also received tutoring from his school mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost stories and tales of Edgar Allan Poe. Christian??s positive behavior toward his children, however, was overshadowed by his morbid pietism. Munch wrote, ??My father was temperamentally nervous and obsessively religious??to the point of psychoneurosis. From him I inherited the seeds of madness. The angles of fear, sorrow, and death stood by my side since the day I was born.?? Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The oppressive religious milieu, plus Edvard??s poor health and the vivid ghost stories, helped inspire macabre visions and nightmares in Edvard, who felt death constantly advancing on him. One of Munch's younger sisters was diagnosed with mental illness at an early age. Of the five siblings only Andreas married, but he died a few months after the wedding. Munch would later write, "I inherited two of mankind's most frightful enemies??the heritage of consumption and insanity." Christian Munch??s military pay was very low, and his attempts at developing a private side practice failed, keeping his family in perrenial poverty. They moved frequently from one sordid flat to another. Munch??s early drawings and watercolors depicted these interiors, and the individual objects such as medicine bottles and drawing implements, plus some landscapes. By his teens, art dominated Munch??s interests. At thirteen, Munch has his first exposure to other artists at the newly formed Art Association, were he admired the work of the Norwegian landscape school, and where he returned to copy the paintings, and soon he began to paint in oils.
gerard terborch
Gerard ter Borch (or Terburg) (December 1617 ?C 8 December 1681) was a Dutch genre painter, who lived in the Dutch Golden Age. Gerard ter Borch was born in December 1617 in Zwolle in the province of Overijssel in the Dutch Republic. He received an excellent education from his father, also an artist, and developed his talent very early. The inscription on a study of a head proves that Ter Borch was at Amsterdam in 1632, where he studied possibly under Willem Cornelisz Duyster or Pieter Codde. Duyster's influence can be traced in a picture bearing the date 1638, in the lonides Bequest (Victoria and Albert Museum). In 1634 he studied under Pieter de Molijn in Haarlem. A record of this Haarlem period is the Consultation (1635) at the Berlin Gallery. In 1635 he was in London, and subsequently he travelled in Germany, France, Spain and Italy. It is certain that he was in Rome in 1641, when he painted the small portraits on copper of Jan Six and A Young Lady (Six Collection, Amsterdam). In 1648 he was at M??nster during the meeting of the congress which ratified the treaty of peace between the Spaniards and the Dutch, and executed his celebrated little picture, painted upon copper, of the assembled plenipotentiaries--a work which, along with the a portrait of a Man Standing, now represents the master in the national collection in London. The picture was bought by the marquess of Hertford at the Demidoff sale for 1280, and presented to the National Gallery by Sir Richard Wallace, at the suggestion of his secretary, Sir John Murray Scott. At this time Ter Borch was invited to visit Madrid, where he received employment and the honour of knighthood from Philip IV, but, in consequence of an intrigue, it is said, he was obliged to return to the Netherlands. He seems to have resided for a time in Haarlem; but he finally settled in Deventer, where he became a member of the town council, as which he appears in the portrait now in the gallery of the Hague. He died at Deventer in 1681. Ter Borch is excellent as a portrait painter, but still greater as a painter of genre subjects. He depicts with admirable truth the life of the wealthy and cultured classes of his time, and his work is free from any touch of the grossness which finds so large a place in Dutch art.[not specific enough to verify] His figures are well drawn and expressive in attitude; his colouring is clear and rich, but his best skill lies in his unequalled rendering of texture in draperies, which is seen to advantage in such pictures as The Letter and in The Gallant Conversation engraved by Wille ?C which exists in various repetitions at Berlin and Amsterdam, and in the Bridgewater Gallery. Ter Borch's works are comparatively rare; only about eighty have been catalogued. Six of these are at the Hermitage, six at the Berlin Museum, five at the Louvre; four at the Dresden Museum, and two at the Wallace Collection. The artist's painting The Suitor's Visit, c. 1658, oil on canvas, 80 x 75 cm (31½ ?? 29 9/16 in.) in the Andrew W. Mellon Collection, was used on the cover of Marilyn Stokstad's second edition of Art History