(1634 - 29 May 1695) was a still life Italian painter. Born in Naples, he likely apprenticed with his family, including his father Giacomo Recco and uncle Giovan Battista Recco. His children both son Nicolo and daughter Elena were also painters. A large part of his output was painted in Spain, where his assemblies of victuals, both vegetable and animal, were popular. It is claimed he was influenced by the neapolitan Giovanni Battista Ruoppolo. Recco died at Alicante, Spain.  Related Paintings of Giuseppe Recco :. | Still-life with fish. | The City Outskirts | A Still Life of Roses, Carnations, Tulips and other Flowers in a glass Vase, with Pastries and Sweetmeats on a pewter Platter and earthenware Pots, on | Fiori e cacciagione | Fiori e cacciagione |
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John sloan
American Ashcan School Painter, 1871-1951 American painter and etcher, b. Lock Haven, Pa. He studied at the Pennsylvania Academy of the Fine Arts and worked for 12 years as an illustrator on the Philadelphia Inquirer and Philadelphia Press. In 1905 he went to New York City, where he worked as an illustrator. A member of the Eight, he was active in organizing the Society of Independent Artists and was its president from 1918. Long a popular teacher at the Art Students League of New York City, he was elected president in 1930. His scenes of city life and his nude studies are in leading museums throughout the United States. Characteristic are McSorley's Bar (Detroit Inst. of Arts); Renganeschi's, Saturday Night (Art Inst., Chicago); Wake of the Ferry (Phillips Memorial Gall., Washington, D.C.); and Nude with Nine Apples (Whitney Mus., New York City).
William Morris Hunt
1824- 1879 William Morris Hunt Gallery Hunt's father's family were among Vermont's founders and largest landowners; his mother's a family of wealth and prominence in Connecticut. Hunt attended Harvard but withdrew in his junior year. Following the untimely death of his Congressman father from cholera, Hunt's mother Jane took him and his brothers to Switzerland, the South of France and to Rome, where Hunt studied with Couture in Paris and then came under the influence of Jean-François Millet, from whom he learned the principles of the Barbizon school. The Hunt family remained in Europe for a dozen years. Afterwards, leaving Paris, he painted and established art schools at Newport, Rhode Island, where he had relatives, Brattleboro, Vermont, Faial Island in the Azores, where he had family connections and finally at Boston, where he painted, taught art and became a popular portrait painter. The companionship of Millet had a lasting influence on Hunt's character and style, and his work grew in strength, in beauty and in seriousness. He was among the biggest proponents of the Barbizon school in America, and he more than any other turned the rising generation of American painters towards Paris. On his return in 1855 he painted some of his most handsome canvases, all reminiscent of his life in France and of Millet's influence. Such are The Belated Kid, Girl at the Fountain, Hurdy-Gurdy Boy, and others ?C but the public called for portraits, and it became the fashion to sit for Hunt; among his best paintings of this genre are those of William M. Evarts, Mrs Charles Francis Adams, the Rev. James Freeman Clarke, William H. Gardner, Chief Justice Shaw and Judge Horace Gray. Sadly, many of Hunt's paintings and sketches, together with five large Millets and other art treasures collected by him in Europe, were destroyed in the Great Boston Fire of 1872.
georg engelhardt schroder
Georg Engelhard Schröder, född den 31 maj 1684 i Stockholm, gift 1727 med Anna Brigitta Spöring, död den 17 maj 1750; konstnär, porträtt- och historiemålare. Georg Engelhard Schröders far, Veit Engelhard, hade omkring år 1670 kommit från N??rnberg och bosatt sig i Stockholm där Georg Engelhard föddes 1684. Han blev tidigt elev hos konstnären och målaren David von Krafft (1655-1724) men lämnade honom 1703 för utlandsstudier. Under 21 år for Georg Engelhard runt i Europa. Han vistades först en tid i Nordtyskland, innan färden gick vidare till Italien. I Venezia förblev han under fem år och kopierade gamla mästare, sysslade med vedutamåleri och hade kontakt med pastellmålarinnan Rosalba Carriera (1675-1757). I Roma tog han intryck av barockmålarna Carlo Dolci (1616-1686), Carlo Maratta (1625-1713), Francesko Trevisani (1656-1746) m.fl. och tillägnade sig det raska men ytliga framställningssätt, som tillhörde den tidens italienska konst. I Paris samlade han impulser hos den franske målaren Noel Nicolas Coypel (1690-1734). Reminiscenser av den italienska och franska konsten kan man påträffa flerstädes i hans kompositioner. I London stannade han i sju år och tog starka intryck av Godfrey Knellers (1646-1723) och Dahls porträttkonst. När Daniel von Krafft avled 1724 kallades Georg Engelhard Schröder hem till Sverige och efterträdde i december sin gamle läromästare som kunglig hovkonterfejare. Som sådan uppbar han lön. Konung Fredrik I satte stort värde på sin konterfejare, och lät honom måla otaliga porträtt av sig och sin drottning Ulrika Eleonora. År 1745 utnämndes han till hovintendent. Georg Engelhard anlitades mycket och samlade ihop en betydande förmögenhet. På 1740-talet nåddes Sverige av den nya franska smaken, i främsta rummet via konstnären Gustaf Lundberg (1695-1786), varvid Georg Engelhard kom att skjutas åt sidan. Han representerade i Sveriges 1700-talsmåleri sista skedet i det italienska inflytandet. Långt ifrån den förnämste, var dock Georg Engelhard en av sin tids mest uppburne målare. Han arbetade inom ett vitt fält: utförde kyrktavlor, allegorier, historiska motiv och porträtt. Hans arbeten har ej sällan någonting vacklande och obestämt, vilket i förening med mycken ojämnhet i utförandet gör många av dem mindre tilltalande för konstkännaren. Han har dock efterlämnat verk, som vittnar om, att han, när han allvarligt uppbjöd sin förmåga, var mäktig till både varm och djup uppfattning samt hade stor skicklighet i färgbehandling och i framställningens enskildheter.