Russian Painter, 1842-1910 Ukrainian painter, active in Russia. Initially self-taught as an artist, he twice failed the St Petersburg Academy's entrance examination, despite coaching by the marine painter Ivan Aivazovsky. In 1868, however, he was accepted as an external student. He persevered against conservative prejudice and poverty throughout his early career, supplementing his income by retouching photographs. In his early landscape paintings he often sought to capture seasonal moods, as in Autumn Mud (1872; St Petersburg, Rus. Mus.). A more human focus, however, is noticeable after 1874, when he joined the travelling exhibitions society the WANDERERS: the village houses dominate the landscape setting in Evening in Ukraine (1878; St Petersburg, Rus. Mus.). Kuindzhi's principal interest, however, was in lighting, and he obtained striking effects by using vivid colours, chiaroscuro contrasts and simple but cleverly conceived designs. Spectacular paintings, such as the Birch Grove (1879; Moscow, Tret'yakov Gal.), greatly moved contemporary viewers. Through years of experimentation, Kuindzhi developed a highly original technique, which he applied to an increasingly typical, at times almost visionary, treatment of subjects such as snow-covered mountains and moonlight (e.g. Elbnis: Moonlit Night, 1890-95; Moscow, Tret'yakov Gal.). Due to imperfections in the paints he used, many of his canvases soon darkened.  Related Paintings of Arkhip Ivanovich Kuindzhi :. | Elbrus-Moonlight | Landscape | The Boat on the sea | Dnieper-s Moonlight | Eventide |
Related Artists:
Martin Maingaud
Martin Maingaud (died 1725; fl.1692-c.1725) was a French portraitist.
ZIMMERMANN, Dominikus
German sculptor, Bavarian school (b. 1685, Wessobrunn, d. 1766, Wies)..Architect, stuccoist and painter, brother of (1) Johann Baptist Zimmermann. For the first two decades of his creative life, from about 1705, he worked mainly as a builder of altars and as a marbler. His most important commission came from the Benedictine abbey of Fischingen (Thurgau), for which he made six artificial marble altars with scagliola inlays (1708-9). Similar altars, mainly in Swabia, are attributed to him or known to be his work; their construction shows the influence of Johann Jakob Herkommer, with whose work Dominikus became familiar while living in F?ssen (1708-16). Between 1709 and 1713 he worked with (1) Johann Baptist Zimmermann at the Buxheim Charterhouse (see above), producing artificial marble altars and stuccowork that is characterized by the botanical accuracy of the plant motifs.
Jakob Mertens
Jakob Merten (August 11, 1809 - February 22, 1872) was a German Catholic theologian who was born in Wittlich. He studied theology in Trier, where in 1833 he received his ordination. Subsequently he became a chaplain in Trier, where he worked closely with Franz Peter Knoodt (1811-1889). From 1843 to 1868 he was a professor of philosophy at the Episcopal Seminary in Trier. Initially a prominent follower of Anton Genther's philosophy, Merten eventually abandoned Gentherianism as his career progressed. He was author of an essay on Gentherian philosophy titled Hauptfragen der Metaphysik in Verbindung mit der Speculation (Primary Questions of Metaphysics in Association with Speculation) (1840). Other noted works by Merten include: Grundriss der Metaphysik, (Outline of Metaphysics); 1848 Der selige Frings und sein Freund als Antigentherianer; 1852 Bemerkungen zur Metaphysik von Balmes, (Remarks on the Metaphysics of Balmes); 1859