1861-1909 Frederic Sackrider Remington (October 4, 1861 - December 26, 1909) was an American painter, illustrator, sculptor, and writer who specialized in depictions of the Old American West, specifically concentrating on the last quarter of the 19th century American West and images of cowboys, American Indians, and the U.S. Cavalry. Remington was the most successful Western illustrator in the ??Golden Age?? of illustration at the end of the 19th Century and the beginning of the 20th Century, so much so that the other Western artists such as Charles Russell and Charles Schreyvogel were known during Remington??s life as members of the ??School of Remington??. His style was naturalistic, sometimes impressionistic, and usually veered away from the ethnographic realism of earlier Western artists such as George Catlin. His focus was firmly on the people and animals of the West, with landscape usually of secondary importance, unlike the members and descendants of the Hudson River School, such as Frederic Edwin Church, Albert Bierstadt, and Thomas Moran, who glorified the vastness of the West and the dominance of nature over man. He took artistic liberties in his depictions of human action, and for the sake of his readers?? and publishers?? interest. Though always confident in his subject matter, Remington was less sure about his colors, and critics often harped on his palette, but his lack of confidence drove him to experiment and produce a great variety of effects, some very true to nature and some imagined. His collaboration with Owen Wister on The Evolution of the Cowpuncher, published by Harper??s Monthly in September 1893, was the first statement of the mythical cowboy in American literature, spawning the entire genre of Western fiction, films, and theater that followed. Remington provided the concept of the project, its factual content, and its illustrations and Wister supplied the stories, sometimes altering Remington??s ideas. (Remington??s prototype cowboys were Mexican rancheros but Wister made the American cowboys descendants of Saxons??in truth, they were both partially right, as the first American cowboys were both the ranchers who tended the cattle and horses of the American Revolutionary army on Long Island and the Mexicans who ranched in the Arizona and California territories).  Related Paintings of Frederick Remington :. | Apache | Arizona Cowboy | Scout | Coming and Going of the Pony Express | The Fall of the Cowboy |
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JORDAENS, Jacob
Flemish painter (b. 1593, Antwerpen, d. 1678, Antwerpen). Flemish painter, tapestry designer and draughtsman. In the context of 17th-century Flemish art, he emerges as a somewhat complicated figure. His oeuvre, the fruit of a continual artistic development, is characterized by great stylistic versatility, to which the length of his career contributed. His religious, mythological and historical representations evolved from the rhetorical prolixity of the Baroque into a vernacular, sometimes almost caricatural, formal idiom. The lack of idealistic treatment in his work is undoubtedly the factor that most removed Jordaens's art from that of his great Flemish contemporaries Rubens and van Dyck. Jordaens's officially commissioned works included many paintings in which the sublimity of the subject-matter clashed with the vulgarity of some of his figures. Unlike Rubens and van Dyck, both of whom were knighted in the course of their careers, Jordaens was, in fact, completely ignored by the courts of Spain and Brussels
Poynter, Sir Edward John
English Classicist Painter, 1836-1919 English painter, draughtsman, decorative designer and museum official. He came from an artistic family: his great-grandfather was Thomas Banks the sculptor, and Ambrose Poynter, his father, was an architect and watercolour painter. Edward began studying art in 1852 under Thomas Shotter Boys, a friend of his father. In 1853-4 Poynter visited Rome, where he was greatly impressed by the large-scale academic painting of Frederic Leighton. Returning to London, he studied at Leigh's Academy and the studio of William Dobson (1817-1898). Poynter entered the Royal Academy Schools in 1855 but his admiration for French painting led him to Charles Gleyre's studio in Paris the following year. He remained there until 1859, with fellow students George Du Maurier, Thomas Armstrong and Whistler; their activities are described in Du Maurier's novel Trilby (1894). At this time Poynter received his first commissions for decorative work. He began designing stained glass and painting furniture and, after his return to England, he was employed by his friend the architect William Burges to decorate the ceiling of Waltham Abbey, Essex, in 1860.
Andrea del Sarto
b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.