American Painter, 1864-1926 American painter and sculptor. In 1880 he left his upper-class home in St Louis for Montana Territory. He worked briefly on a sheep ranch, spent two years as a hunter's and trapper's assistant and then became a cowboy. During his considerable spare daytime hours he painted, sketched and modelled small animal figures in clay (e.g. Antelope, 1915; Fort Worth, TX, Amon Carter Mus.). Although he painted a few exceptional oils and watercolours prior to 1900, the vast majority of his best work was done in the last two decades of his life. Typically the subject-matter centres around cowboy life (e.g. Wagon Boss, 1909; Tulsa, OK, Gilcrease Inst. Amer. Hist. & A.) and the Plains Indians, for whom he had great respect. The luminous Piegans (1918; Denver, CO, Mus. W. A.), with its depiction of the Plains Indians, is a reminder of the vastness of the American West. Russell's sense of humour and empathy for his subject-matter radiates from his paintings as pleasingly as do the clear colours of the high country. His bronze sculptures (e.g. Buffalo Hunt, 1905; Denver, CO, Mus. W. A.) depict the same dramatic and tension-packed themes as his paintings.  Related Paintings of Charles M Russell :. | Meat's Not Meat Til It s in the Pan | Sun Worship in Montana | The Tatal Loop | Toll Collectors | Carson s Men |
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Bartolomeo Caporali
(c. 1420-c. 1505 ; active 1454-1499) was an Italian painter born and active in Perugia. He painted a Madonna and Saints (1487) for the church of Santa Maria Maddalena at Castiglione del Lago.
Isaac Cruikshank
English Illustrator, ca.1756-1811 Scottish painter and caricaturist, was born in Edinburgh. His sons Isaac Robert Cruikshank (1789-1856) and George Cruikshank also became artists, and the latter in particular achieved fame as an illustrator and caricaturist. Cruikshank is known for his social and political satire. His parents were Elizabeth Davidson (b. c.1725), daughter of a gardener, and Andrew Crookshanks (c.1725 Cc.1783), a former customs inspector dispossessed for his role in the Jacobite uprising of 1745. He studied with a local artist, possible John Kay (1742 C1826), and travelled with his master to London in 1783. He married Mary MacNaughton (1769 C1853) in 1788 and the couple had five known children, two of whom died in infancy. A daughter, Margaret Eliza, also a promising artist, died at the age of eighteen. Cruikshank's first known publications were etchings of Edinburgh "types", from 1784. He produced illustrations for books about the theatre, did the frontispiece for Witticisms and Jests of Dr Johnson (1791), and illustrated George Shaw's extensive General Zoology (1800 C26). His watercolours were exhibited, but in order to make a living it was more lucritive to produce prints and caricatures. He was responsive to the marketplace but firm in his dislikes of Napoleon and political radicals. He and Gillray developed the figure of John Bull, the nationalistic representation of a solid British yeoman. Publisher John Roach was a friend and patron, and he later worked with print dealer S. W. Fores and Johnny Fairburn. He also collaborated, with G. M. Woodward, and later, with his son George. Cruikshank died of alcohol poisoning at the age of fifty-five as a result of a drinking contest and is buried near his home in London.
Willem Claesz Heda
1594-1682 Dutch Willem Claesz Heda Galleries Dutch painter. He was a still-life painter, who, like Pieter Claesz., is noted for his monochrome breakfast-pieces, which are, however, more opulent than those of Claesz. Heda earliest dated work is a Vanitas (1621; The Hague, Mus. Bredius), which shows a still-life from a high viewpoint, composed of various objects bearing vanitas associations (e.g. a bowl of glowing embers, smoker requisites, an overturned glass and a skull); the colouring is in brownish-grey tones and represents one of the earliest examples of a Dutch monochrome still-life (monochrome refers to the range of tones, rather than of colours). Even in this early work Heda skill at painting textures is evident. A more balanced composition is achieved in another Still-life (1629; The Hague, Mauritshuis) and in the Breakfast Table (1631; Dresden, Gemeldegal. Alte Meister), in both of which the objects, set against a neutral background, are linked by a strong diagonal. The Mauritshuis still-life also gives an early indication of Heda interest in painting the effects of light. In 1631 he became a member of the Haarlem Guild of St Luke (of which he served as deacon on several occasions after 1637).