1736-1813 Swiss painter, active in Germany. He was a pupil of Johann Ulrich Schellenburg (1709-95) in Winterthur and continued his training with Johann Jakob Haid in Augsburg between 1756 and 1765. He worked for the court painter Leonhard Schneider (1716-62) in Ansbach from 1757 to 1759, producing large numbers of copies of a portrait of Frederick the Great (probably by Antoine Pesne). This was an important step in furthering his career, as were the months he spent in Regensburg (1764-5) painting miniatures of clerics and town councillors. He was court painter to the Elector Frederick-Christian of Saxe-Weimar in Dresden from 1766 and taught at the Hochschule der Bildende K?nste there. In 1771 he travelled to Berlin, where he painted portraits of Jakob Mendelssohn, Gotthold Ephraim Lessing and J. G. Sulzer. Sulzer introduced him at court, which resulted in many commissions. He was invited several times to teach at the Akademie der K?nste in Berlin, but he remained in Dresden. He often travelled to Leipzig, and in summer he frequently went to Teplitz (now Teplice, Czech Republic) and Karlsbad   Related Paintings of Anton Graff :. | Friedrich August I. | Portrait of Moses Mendelssohn | Portrait of Judith Gessner, wife of Solomon Gessner | Hertug Frederik Christian II | Judith Gessner |
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Sebastien Bourdon
(2 February 1616 - 8 May 1671) was a French painter and engraver. His chef d'œuvre is The Crucifixion of St. Peter made for the church of Notre Dame. The Finding of Moses, c. 1650 (National Gallery of Art, Washington)Bourdon was born in Montpellier, France, the son of a Protestant painter on glass. He was apprenticed to a painter in Paris. In spite of his poverty he managed to get to Rome in 1636; there he studied the paintings of Nicolas Poussin, Claude Lorrain and Caravaggio among his eclectic selection of models, until he was forced to flee in 1638, to escape denunciation by the Inquisition for his Protestant faith. Bourdon's facility rendered him adept at portraiture, whether in a dashing Rubens manner or in intimate, sympathetic bust-length or half-length portraits isolated against plain backgrounds that set a formula for middle-class portraiture for the rest of the century, landscapes in the manner of Gaspar Dughet or cappricci of ruins, mythological "history painting" like other members of Poussin's circle or the genre subjects of the Dutch Bamboccianti who were working in Rome. His eclectic range of styles have given art historians exercise in tracing his adaptation of his models, while the lack of an immediately recognizable "Bourdon style" has somewhat dampened public appreciation. In 1652 Christina of Sweden made him her first court painter. Bourdon spent most of his working career outside France, where, though he was a founding member of the Academie de peinture et de sculpture (1648), he was for long largely dismissed as a pasticheur, a situation partly rebalanced by a comprehensive exhibition in 2000 of his work at the Musee Fabre, where the collection includes a fine Lamentation painted in the last years of his life. His success required the establishment of an extensive atelier, where, among his other pupils worked Nicolas-Pierre Loir and Pierre Mosnier. He died in Paris in 1671.
Julian Falat
(30 July 1853 in Tuligłowy near Lwew - 9 July 1929 in Bystra Śląska) was one of the most prolific Polish painters of watercolor and one of the country's foremost landscape painters as well as one of the leading Polish impressionists. Fałat first studied under Władysław Łuszczkiewicz at the Krakew School of Fine Arts, and then at the Art Academy of Munich. After several trips throughout Europe and Asia in 1885, Fałat compiled a collection of studies from his voyages which would become useful later in the development of his artwork. Themes typical of Fałat's painting are Polish landscapes, hunting scenes, portraits, and studies from his voyages. In 1886, Fałat accepted an invitation from future German Emperor Wilhelm II to serve as court painter in Berlin. Fałat died in Bystra Śląska on July 9, 1929. A museum in Poland, called Fałatewka, is devoted to him. Out of his three children, Kazimierz (Togo) (1904-1981) continued to paint in watercolour. Some works, having been looted under German occupation, very occasionally reappear in sales-rooms. Later works, produced after he settled in England, are largely in the hands of his later family.
Harold Gilman
(11 February 1876 - 12 February 1919) was a painter of interiors, portraits and landscapes, and a founder-member of the Camden Town Group. Though born in Rode, Somerset, Gilman spent his early years at Snargate Rectory, in the Romney Marshes in Kent, where his father was the Rector. He was educated in Kent at Abingdon, Rochester and Tonbridge schools, and for one year at Brasenose College in Oxford University. Although he developed an interest in art during a childhood convalescence period, Gilman did not begin his artistic training until after his non-collegiate year at Oxford University (cut short by ill health) and after working in the Ukraine as a tutor to a British family in Odessa (1895). In 1896 he entered the Hastings School of Art to study painting, but in 1897 transferred to the Slade School of Fine Art in London, where he remained from 1897 to 1901, and where he met Spencer Gore. In 1904 he went to Spain and spent over a year studying Spanish masters (Velezquez and Goya as well as Whistler were major early influences). At this time he met and married the American painter Grace Cornelia Canedy. The couple settled in London (apart from a visit to her family in Chicago, when Gilman ducked pressure to join the Canedy family business). They had two daughters (one in London, one in Chicago).