(6 May 1867 - 24 September 1940) was a Hungarian painter, a leading member of the Nagybenya artists' colony and founder of the Kecskemet artists' colony. Born in Som, Ivenyi-Grenwald began his artistic studies under Bertalan Szekely and Keroly Lotz at the Academy of Fine Arts in Budapest (1882-86) and continued them at Munich in 1886-87 and at the Academie Julian in Paris from 1887 to 1890. From 1891 he again worked in Munich; in 1894 he travelled with Ferenc Eisenhut to Egypt, where he painted several oriental-themed works. Beginning in 1889 he had regular exhibitions at the Palace of Art in Budapest. Characteristic of his early pictures is A Hader kardja ("The Warrior's Sword", 1890), a proto-Symbolist treatment of rural genre showing the influence of Jules Bastien-Lepage. After his return to Munich, Ivenyi-Grenwald painted a large-scale genre painting entitled Nihilistek sorsot heznak ("Nihilists Drawing Lots", 1893), a work as notable for its dramatic use of chiaroscuro as for its deeply felt subject-matter. In response to a state commission for the 1896 Millennium Exhibition in Budapest he produced an enormous academic history painting.  Related Paintings of Bela Ivanyi-Grunwald :. | Venice | In the Valley | Still life | Shepherd and Peasant Woman | Woman by the Water |
Related Artists:
Gillis Hafstrom
Sweden (1841 -1909 ) - Painter Gillis Hafström
Albert goodwin,r.w.s
1845-1932 English painter. During the early 1860s Goodwin studied with Arthur Hughes and Ford Madox Brown, who predicted that his pupil would become 'one of the greatest landscape painters of the age'. Hughes and Brown impressed on Goodwin the Pre-Raphaelite principles of high finish, vivid colour and working directly from nature that inform his early landscape style,
SWANEVELT, Herman van
Dutch Baroque Era Painter, ca.1600-1655 Dutch painter, draughtsman and etcher, active in France and Italy. His first signed and dated works are two views of Paris dated 1623 (Brunswick, Herzog Anton Ulrich-Mus.). He was in Rome from 1629 to 1641. His earliest dated painting there is an Old Testament Scene (1630; The Hague, Mus. Bredius; see fig.), a compositional formula that he often used, with some variations, in Rome. A flat, low foreground is closed on the left by a house and a tree; on the right is a distant hilly scene; and groups of figures are disposed horizontally. This design, derived from Cornelis van Poelenburch, is well suited to van Swanevelt's many landscapes with biblical and mythological subjects. The large tree extending beyond the frame gives a monumental touch to the composition.