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 :. | Leopold, Duke of Brabant | Portrait of Victoria of the United Kingdom | Jadwiga Potocka, Countess Branicka | Louis Charles Philippe Raphael D'Orleans, Duc de Nemours | Queen Victoria with Prince Arthur |
Related Artists:
Julia Margaret Cameron
British Photographer, 1815-1879,English pioneer photographer, b. Calcutta (now Kolkata). Born and married into the high ranks of the British civil service, Cameron became an intimate of many of the most famous people of her day. In 1864 she became an ardent amateur photographer, demanding long, arduous sittings from her illustrious friends. She sought to illuminate the inner person of her subject, and her celebrated portraits, including those of Tennyson, Carlyle, Ellen Terry, Browning, Darwin, and Longfellow, are remarkably spontaneous. She also pioneered the use of closeups,
BORDONE, Paris
Italian High Renaissance Painter, 1500-1571 Bordone was born at Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily (according to Vasari) with Titian. Vasari may have met the elder Bordone. From the 1520s, we have works by Bordone including the Holy Family in Florence, Sacra Conversazione with Donor (Glasgow), and Holy Family with St. Catherine (Hermitage Museum). The St. Ambrose and a Donor (1523) is now in Brera. In 1525-6, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George (now in the Palazzo Tadini collection at Lovere). A second altarpiece, Pentecost, is now in Brera gallery. In 1534-5, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of the Fisherman delivering the Marriage Ring of Venice to the Doge (Accademia). However, when this latter painting is compared to the near-contemoporary, and structurally similar, Presentation of the Virgin, Bordone's limitations, his use of superior perspective, which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian. Bordone is best at his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space.
LIEFERINXE, Josse
French painter, Provençal school (active 1493-1508 in Marseille) South Netherlandish painter, active in France. A native of Hainaut, in the diocese of Cambrai, he may have come from Lieferinge near Enghien (Claessens). He is documented in Marseille and Aix-en-Provence from 1493 to 1505, often being described as a 'Picard painter'. In 1503 he married Michelle, one of the daughters of Jean Changenet, the most prominent painter of the time in Avignon, with whom he may have trained. The last great representative of the 'School of Avignon',