German 1805-1873 Franz Xaver Winterhalter Galleries German painter and lithographer. He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Scheler (1785-1852) in Freiburg im Breisgau and went to Munich in 1823, sponsored by the industrialist Baron Eichtal. In 1825 he began a course of study at the Akademie and was granted a stipend by Ludwig I, Grand Duke of Baden. The theoretical approach to art of the Akademie under the direction of Peter Cornelius was unfamiliar to him, as in Freiburg he had been required to paint in a popular style. He found the stimulus for his future development in the studio of Joseph Stieler, a portrait painter who was much in demand and who derived inspiration from French painting. Winterhalter became his collaborator in 1825. From Stieler he learnt to make the heads of figures emerge from shadow and to use light in the modelling of faces. He moved to Karlsruhe in 1830 with his brother Hermann Winterhalter (1808-92), who had also trained with Scheler and had followed him to Munich.  Related Paintings of Franz Xaver Winterhalter :. | Portrait of Luisa Fernanda of Spain | Albert Edward Prince of Wales (mk25 | Queen Victoria with Prince Arthur | Louis Philippe I, King of the French | Portrait de l'empereur Napoleon III |
Related Artists:
Giuseppe de nittis
Italian, 1846-1884 Italian painter, pastellist and printmaker. Throughout his career he was committed to a plein-air aesthetic and was particularly interested in rendering varying light effects, a concern that brought him into contact with the Impressionists. He was also acquainted with the members of the Macchiaioli, for whom his work was influential. In addition to oils, he experimented with printmaking and made innovative use of pastels. Practising a restrained, and therefore 'acceptable', form of Impressionism,
Robert Fenson
painted View with a Cottage by a Stream in Probably Late 19th Century
Ammi Phillips
(1788-1865), a self-taught New England portrait painter, is regarded as one of the most important folk artists of his era. Phillips was born in Colebrook, Connecticut, and began painting portraits as early as 1810. He worked as an itinerant painter in Connecticut, Massachusetts, and New York for five decades. In 1924, a group of portraits of women, shown leaning forward in three-quarter view and wearing dark dresses, were displayed in an antique show in Kent, Connecticut. The anonymous painter of these strongly colored works, which dated from the 1830s, became known as the "Kent Limner," after the locality where they had come to light. Stylistically distinct from those of the "Kent Limner," a second group of early-19th-century paintings emerged after 1940 in the area near the Connecticut?CNew York border. Attributed at the time to an unknown "Border Limner," these works, dating from the period 1812?C1818, were characterized by soft pastel hues, as seen in the portrait of Harriet Leavens, now in the Fogg Art Museum, Harvard University. It was not until 1968 that Ammi Phillips's identity as the painter of both groups of portraits was established. Additional works were identified, showing the artist's transition from the delicate coloration of the Border period to the bold and somber works that followed.