German-born American Hudson River School Painter, 1830-1902 Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the D??sseldorf School in D??sseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting. Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career. Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day. His use of uncommonly large canvases was thought to be an egotistical indulgence, as his paintings would invariably dwarf those of his contemporaries when they were displayed together. The romanticism evident in his choices of subject and in his use of light was felt to be excessive by contemporary critics. His paintings emphasized atmospheric elements like fog, clouds and mist to accentuate and complement the feel of his work. Bierstadt sometimes changed details of the landscape to inspire awe. The colors he used are also not always true. He painted what he believed is the way things should be: water is ultramarine, vegetation is lush and green, etc. The shift from foreground to background was very dramatic and there was almost no middle distance Nonetheless, his paintings remain popular. He was a prolific artist, having completed over 500 (possibly as many as 4000) paintings during his lifetime, most of which have survived. Many are scattered through museums around the United States. Prints are available commercially for many. Original paintings themselves do occasionally come up for sale, at ever increasing prices.  Related Paintings of Albert Bierstadt :. | Storm in the Rocky Mountains Mt Rosalie | Yellowstone Falls | Oregon Trail, | The Campfire | The_Morteratsch_Glacier_Upper_Engadine_Valley_Pontresina |
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ANGELUCCIO
Italian painter, Roman school (active 1640-1650 in Rome) Italian painter. He is the only known pupil of Claude Lorrain other than Claude's long-standing assistant Giandomenico Desiderii (b 1620-24; d after 1657). Pascoli, the only biographer to record him, claimed in his life of Claude that Angeluccio was Claude's most able student but had died young and was able to work little. Angeluccio appears to have lived in Rome and, like Claude, was exclusively a landscape painter. About 25 paintings and 35 drawings, all dated 1640-45, comprise his entire oeuvre. Claude's influence can be seen in such paintings as Landscape with Figures and Bridge (priv. col., see 1983 exh. cat., no. 88). This is a composition with centrally placed foreground figures framed by trees in the middle ground, which in turn stand before a bridge and a distant vista, and was borrowed directly from such paintings by Claude as Pastoral Landscape (1644-5; Merion Station, PA, Barnes Found.). Although Angeluccio shared Claude's approach to landscape, he was not merely an imitator. His paintings form a coherent stylistic group of wooded landscapes, rich in foliage and undergrowth and characterized by a blue-green tonality, which indicates that he also embraced the tradition of landscape painting brought to Rome in the 17th century by Dutch and Flemish artists. The Landscape with Hunters (Rome, Pal. Barberini), painted on an intimate scale and aligned vertically, like most of Angeluccio's paintings, betrays the artist's debt to this tradition. In the painting the pockets of sunlight and the highlighted foliage, indicated with the abbreviated white brushstrokes typical of Angeluccio's manner, provide sharp contrast to a dark, tunnel-like wood. The resulting sense of the landscape closing in on the figures is an effect often found in the landscapes of the Flemish artist Paul Bril. The distant vista, however, is similar to those that appear in works by Claude. The romanticism evoked by this blending of borrowed elements gives Angeluccio's works their distinguishing quality. His paintings frequently also contain rustic genre figures.
AUGUSTIN, Jacques-Jean-Baptiste
French miniaturist (b. 1759, Saint-Di? d. 1832, Paris) 1832). French painter. After receiving instruction in art from Jean Girardet (1709-78) and Jean-Baptiste-Charles Claudot (1733-1805), he went to Paris in 1781, where he won recognition as a miniature painter. The miniatures he painted in the 1790s, for example his portrait of Mme Vanh?e, n?e Dewinck (1792; Paris, Louvre), are among his most animated works; often portraying figures in a landscape setting, they develop the exuberant style of Niclas Lafrensen and Peter Adolf Hall. He also admired the work of Jean-Baptiste Greuze, whose Bacchante (Waddesdon Manor, Bucks, NT) in his own collection he copied in miniature (London, Wallace) and in enamel (Paris, Louvre).
Albert Gallatin Hoit
Albert Gallatin Hoit (December 13, 1809 - December 18, 1856) was an American painter who lived in Boston, Massachusetts. He painted portraits of William Henry Harrison, Daniel Webster and Brenton Halliburton. Hoit was born in Sandwich, New Hampshire, December 13, 1809, to Gen. Daniel Hoit and Sally Flanders. Siblings included William Henry Hoit. Hoit graduated from Dartmouth College in 1829. He married Susan Hanson in 1838; children included Anna M. Hoit. Hoit "devoted his life to portrait painting, first at Portland, Maine, in 1831, and then in Bangor and Belfast, Maine, and St. John's, N.B. until Boston, Mass., became his permanent home in 1839." He also travelled in Europe, "Oct. 1842 to July 1844, ... enjoying the galleries of art in Italy, Paris, and London." He created portraits of Pietro Bachi, Johanna Robinson Hazen, J. Eames, and others. He painted a portrait of Daniel Webster "for Paran Stevens, which hung for years in the Revere House, Boston, and now belongs to the Union League Club, New York." He was affiliated with the Boston Artists' Association; and exhibited at the gallery of the New England Art Union in the 1850s. In 1848, he kept a studio on Tremont Row in Boston, and lived in Roxbury. By 1852, he'd moved his studio to Washington Street. Hoit died in Jamaica Plain, December 18, 1856, at age 47.