Alma Tadema
Alma Tadema's Oil Paintings
Alma Tadema Museum
8 January 1836 – 25 June 1912. Most renowned painters.

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Frederic Remington
Waiting in the Moonlight (mk43)

ID: 25778

Frederic Remington Waiting in the Moonlight (mk43)
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Frederic Remington Waiting in the Moonlight (mk43)


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Frederic Remington

American Painter and Sculptor, 1861-1909 American painter, sculptor, illustrator and writer. In 1878 he began his studies at the newly formed School of the Fine Arts at Yale University in New Haven, CT, remaining there until 1880. This, along with a few months at the Art Students League in New York in 1886, was his only period of formal art training. In 1881 he roamed through the Dakotas, Montana, the Arizona Territory and Texas to document an era that was fast vanishing. He returned east and in 1882 had his first drawing published (25 Feb) in Harper's Weekly. Further commissions for illustrations followed, including that for Theodore Roosevelt's Ranch Life and the Hunting Trail (New York, 1888) (see BOOK ILLUSTRATION, fig. 8).   Related Paintings of Frederic Remington :. | The Wolvs Sniffed Along the Trail,but Came No Nearer (mk43) | Touchdown | Apache Scouts Listening (mk43) | The Buffalo Hunt | The Bell Mare (mk43) |
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thomas creswick
Thomas Creswick (5 February 1811 - 28 December 1869) was an English landscape painter and illustrator, born in Sheffield, son of Thomas Creswick and Mary Epworth and educated at Hazelwood, near Birmingham. At Birmingham he first began to paint. His earliest appearance as an exhibitor was in 1827, at the Society of British Artists in London; in the ensuing year he sent to the Royal Academy the two pictures named Llyn Gwynant, Morning, and Carnarvon Castle. About the same time he settled in London; and in 1836 he took a house in Bayswater. He soon attracted some attention as a landscape painter, and had a career of uniform and encouraging, though not signal success. In 1842 he was elected an associate, and in 1850 a full member of the Royal Academy, which, for several years before his death, numbered hardly any other full members representing this branch of art. In his early practice he set an example, then too much needed, of diligent study of nature out of doors, painting on the spot all the substantial part of several of his pictures. English and Welsh streams may be said to have formed his favourite subjects, and generally British rural scenery, mostly under its cheerful, calm and pleasurable aspects, in open daylight. This he rendered with elegant and equable skill, color rather grey in tint, especially in his later years, and more than average technical accomplishment; his works have little to excite, but would, in most conditions of public taste, retain their power to attract. Creswick was industrious and extremely prolific; he produced, besides a steady outpouring of paintings, numerous illustrations for books. He was personally genial, a dark, bulky man, somewhat heavy and graceless in aspect in his later years. He died at his house in Bayswater, Linden Grove, after a few years of declining health. Among his principal works may be named England (1847); Home by the Sands, and a Squally Day (1848); Passing Showers (1849); The Wind on Shore, a First Glimpse of the Sea, and Old Trees (1850); A Mountain Lake, Moonrise (1852); Changeable Weather (1865); also the London Road, a Hundred Years ago; The Weald of Kent; the Valley Mill (a Cornish subject); a Shady Glen; the Windings of a River; the Shade of the Beech Trees; the Course of the Greta; the Wharfe; Glendalough, and other Irish subjects, 1836 to 1840; the Forest Farm Frith for figures, and Ansdell for animals, occasionally worked in collaboration with Creswick.
Theodor Esbern Philipsen
1840-1920 Danish painter, sculptor and draughtsman. He studied at the Kongelige Akademi for de Skenne Kunster, Copenhagen, in 1862-3 and 1865-9, and in Paris under Leon Bonnat in 1875-6. He was an important figure in the development and renewal of Danish naturalism, linking the Danish Golden Age tradition with new French ideas. Conscious of the importance of plein-air painting, he was first a great admirer of the Barbizon school; later he was influenced by the Impressionists, becoming the only truly Danish Impressionist. Frequent visits abroad helped him develop his outlook; he eagerly studied the Old Masters, and the strong light of the south
Henry Leonidas Rolfe
British,active 1847-81






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