French Romantic Painter, 1798-1863 For 40 years Eugene Delacroix was one of the most prominent and controversial painters in France. Although the intense emotional expressiveness of his work placed the artist squarely in the midst of the general romantic outpouring of European art, he always remained an individual phenomenon and did not create a school. As a personality and as a painter, he was admired by the impressionists, postimpressionists, and symbolists who came after him. Born on April 28, 1798, at Charenton-Saint-Maurice, the son of an important public official, Delacroix grew up in comfortable upper-middle-class circumstances in spite of the troubled times. He received a good classical education at the Lycee Imperial. He entered the studio of Pierre Narcisse Guerin in 1815, where he met Theodore Gericaul  Related Paintings of Eugene Delacroix :. | the death of sardanapalus | The Entry of the Crusaders into Constantinople | Liberty Leading the People | The Lion Hunt (mk45) | Fan with Caricatures |
Related Artists:
Sebastian Stoskopff
Strasbourg 1597-Idstein 1657 was an Alsatian painter. He is considered one of the most important German still life painters of his time. His works, which were rediscovered after 1930, portray goblets, cups and especially glasses. The reduction to a few objects, which is characteristic of early still life painting, can again be recognized in Stoskopff's painting. His chief works hang in Strasbourg and in Saarbr??cken. Sebastian Stoskopff was born in 1597 in Strasbourg. His father was employed by the city since 1590 and acted as a mounted courier or royal escort, driving a one-horse-carriage. In 1614, Stoskopff's father asked the Strasbourg council for help for his 17-year-old son. He wanted him to be able to learn the craft of painting, since Sebastian had already been extremely talented in drawing and painting since he was 15. The council agreed to provide their support and probably sent the young artist at first to the Strasbourg painter and copper engraver, Friedrich Brentel. However, he only learned how to further refine his drawing and was not, as hoped, introduced to the art of painting. In 1615, Stoskopff's father died and his widowed mother went to the Strasbourg council once again to ask for support for training from a recognized painter. Stoskopff was then sent to Daniel Soreau, a painter who was active in Hanau. In the beginning, Soreau was not very enthusiastic, since he usually chose his apprentices from among his relatives and close friends. However, he finally complied with the request of the council and assured them that would "make an Albrecht Derer of this apprentice". There is not a single definite picture by Daniel Soreau existing. It is only possible to draw conclusions about how well the master passed on his artistic skills to his students through the works of his sons, other apprentices of his workshop and through Stoskopff's works. After Soreau's death in 1619, Stoskopff took over his workshop with the apprentices, as well as his function as the master. One of the apprentices was Joachim von Sandrart, who later became a successful painter and who wrote the first important work on the history of art in the German language: "Teutsche Academie der Bau-, Bild,- und Malerey- Kenste". This work contains descriptions of the lives of earlier and contemporary artists, including descriptions of the time in Hanau with his master, Sebastian Stoskopff. After his attempt to get permission to settle in Frankfurt failed, Stoskopff went to Paris. He stayed there from about 1622 until 1639, which can be reconstructed from indirect reports and property inventories of Parisians. His first works in larger format were also created here, such as "Summer" or "Winter" (now both in Strasbourg).
Il Pordenone
(c. 1484 - 1539), was an Italian painter of the Venetian school, active during the Renaissance. Vasari, his main biographer, identifies him as Giovanni Antonio Licinio. He was commonly named il Pordenone from having been born in 1483 at Corticelli, a small village near Pordenone in Friuli. He ultimately dropped the name of Licinio, having quarrelled with his brothers, one of whom had wounded him in the hand; he then called himself Regillo, or De Regillo. Others say he once took up his maternal name of Cuticelli[1] His signature runs Antonius Portunaensis, or De Portunaonis. He was knighted as a cavaliere by Charles V. As a painter, Pordenone was a scholar of Pellegrino da San Daniele, but a leading influence of his style was Giorgione; the popular story that he was a fellow-pupil with Titian under Giovanni Bellini is false. It was claimed that Pordenone's first commission was given him by a grocer in his home town, to try his boast that he could paint a picture as the priest commenced High Mass, and complete it by the time Mass was over; he completed the picture in the required time.[2] The district about Pordenone had been somewhat fertile in capable painters; but Pordenone is the best known, a vigorous chiaroscurist and flesh painter. The 1911 Britannica states that "so far as mere flesh-painting is concerned he was barely inferior to Titian in breadth, pulpiness and tone". The two were rivals for a time, and Licinio would sometimes affect to wear arms while he was painting. He excelled in portraits; he was equally at home in fresco and in oil-color. He executed many works in Pordenone and elsewhere in Friuli, Cremona, and Venice; at one time he settled in Piacenza, where one of his most celebrated church pictures, St. Catherine disputing with the Doctors in Alexandria is located; the figure of St. Paul in connection with this picture is his own portrait.
Edward Beyer
painted The Peaks of Otter and the Town of Liberty in 1855