Dutch Baroque Era Painter, 1632-1675 Johannes (or Jan) Vermeer is now recognized as one of the great Dutch painters, but while he was alive he could barely make ends meet, and his artistic achievement was almost entirely ignored for 200 years after his death. Little is known about his personal life, other than he died poor and young and left behind a wife and eleven children. Vermeer is admired for his realistic style, his subtle use of color and light and his unusual and inventive brush technique, but fewer than forty of his paintings exist. His most famous works include domestic scenes such as Girl With a Peal Earring (1665) and The Music Lesson (1662-65), and tranquil landscapes such as The Little Street (1657-58) and View of Delft (1659-60). Although his actual birth and death dates are unknown, Vermeer was baptized 31 October 1632 and buried 15 December 1675... During his career he used the names Johannes van der Meer, Johannes Vermeer and Jan Vermeer  Related Paintings of Jan Vermeer :. | Portrait of a Young Woman | The Guitar Player | Johannes vermeer (mk30) | A Woman Asleep at Tablec | Allegory of Painting |
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Xie An
Xie An (320-385), courtesy name Anshi .formally Duke Wenjing of Luling , was a Jin Dynasty (265-420) statesman who, despite his lack of military ability, led Jin through a major crisis -- attacks by Former Qin. His line became one of the two most honored during the subsequent Southern Dynasties -- the other being Wang Dao's line -- and in the minds of the people no less honored than imperial clans.
Franz von Lenbach
Shrobenhausen 1836-Munich 1904 German painter. The son of a master builder, he trained for his father's profession at the Kenigliche Landwirtschafts- und Gewerbeschule in Landshut, also working from 1851 in the sculpture studio of Anselm Sickinger (1807-73) in Munich. His elder brother, Karl August Lenbach (1828-47), had already become involved with painting, and it was through him that Franz Lenbach met Johann Baptist Hofner (1832-1913), an artist who had studied at the Akademie der Bildenden Kenste in Munich. They went on sketching expeditions together, and Hofner introduced him to plein-air painting. After spending two semesters at the Polytechnische Schule in Augsburg (1852-3), and some months in the studio of Albert Grefle (1807-89), a portrait painter in Munich, Lenbach entered the Akademie in Munich in 1854. In 1857 he attended the classes of Karl Theodor Piloty (later von Piloty), who was renowned for his history paintings. Lenbach produced his first important painting, the Angel Appearing to Hagar in the Desert (1858; destr.), while in this class, followed by Peasants Trying to Take Shelter from a Thunderstorm in a Chapel (1858; destr.; oil sketch, Schweinfurt, Samml. Schefer). The sale of this picture, together with a scholarship, enabled him to accompany Piloty on a journey to Rome with Ferdinand von Piloty (1828-95),
Cordelia Creigh Wilson
(28 November 1873, Georgetown, Colorado - 7 June 1953, Seattle, Washington) was a painter noted for her landscapes of New Mexico and the American Southwest. Cordelia "Cordie" Creigh was born in Clear Creek County, Colorado. Her father died in her early childhood, and she was raised by her mother, Emma Creigh who shuttled the family between Winfield, Kansas and Colorado. She married Willard Wilkinson in Boulder, Colorado in 1897 and gave birth to her only child, Louise, in Hayden the next year, however, the couple divorced shortly after the turn of the century. Cordelia then began to seriously develop her skills as an artist motivated by latest trends in American realism led by Robert Henri. Her academic training emphasized development of an alla prima technique and painting out of doors, which inspired her to produce bold impasto works quickly. She started making road trips to New Mexico and became friends with painters in the Taos Society of Artists and the Santa Fe art colony. Her numerous expressive oil sketches and en plein air canvases of adobe dwellings and rugged landscapes caught the attention of art dealers. Before the end of the First World War, Cordelia married John H. Wilson and took his surname for her entire professional career. They settled on Tremont Street in Denver, just around the corner from the J. Gibson Smith Gallery which displayed and sold her works. Many of her paintings had frames she hand-carved in rustic Arts and Crafts style and gilded with sheets of gold leaf. In 1917, Cordelia Wilson was honored by having two paintings selected for the inaugural exhibition of the new New Mexico Museum of Art in Santa Fe. The show featured easel works by George Bellows, Robert Henri, F. Martin Hennings, and Leon Kroll, who were working in the Southwest at that time, along with the "Taos Six" (Oscar Berninghaus, Ernest Blumenschein, Irving Couse, Herbert Dunton, Bert Geer Phillips, and Joseph Henry Sharp) and other members of the Taos Society. One of her paintings exhibited in the show, A Mexican Home, was reproduced in the January CFebruary 1918 issue of the journal Art and Archaeology (published by the Archaeological Institute of America) that featured a cover article about the museum's opening. Among Cordelia Wilson's largest landscapes is a 50" x 70" canvas, created for World War I military training. It was exhibited at the School of American Research of Santa Fe in 1917 with other large-scale so-called "Range Finder" paintings by Blumenschein, Berninghaus, Phillips, Gustave Baumann, Walter Ufer, Leon Gaspard, and others. They had been commissioned by the U.S. Army based on a proposal by the Salmagundi Club of New York, whose members wanted to make a special contribution to America's war effort. When the show closed, the works on display were shipped to Camp Funston at Fort Riley, Kansas and Camp Cody at Deming, New Mexico. The paintings were used for indoor instruction in range finding, topographical quizzes, and map drawing at Army camps. John Wilson, her husband, contracted tuberculosis in about 1921. The couple moved to the Seattle for his treatment at a sanitorium, where he passed away the following year. In 1923, Cordelia married for a third time to John N. Fahnestock, but this marriage ended in divorce in 1928. Cordelia continued to reside in Pacific Northwest producing still lifes, florals, and scenes of the Puget Sound region, although she periodically traveled, worked, and displayed her art in the Southwest.