English Pre-Raphaelite Painter, 1849-1917 English painter. His father was a minor English painter working in Rome. Waterhouse entered the Royal Academy Schools in London in 1870. He exhibited at the Society of British Artists from 1872 and at the Royal Academy from 1874. From 1877 to the 1880s he regularly travelled abroad, particularly to Italy. In the early 1870s he had produced a few uncharacteristic Orientalist keepsake paintings, but most of his works in this period are scenes from ancient history or classical genre subjects, similar to the work of Lawrence Alma-Tadema (e.g. Consulting the Oracle, c. 1882; London, Tate). However, Waterhouse consistently painted on a larger scale than Alma-Tadema. His brushwork is bolder, his sunlight casts harsher shadows and his history paintings are more dramatic.  Related Paintings of John William Waterhouse :. | Ophelia | An Eastern Reminiscence (mk41) | The Annunciation | Consulting the Oracle | Miranda |
Related Artists:
Fernand Khnopff
1858-1921 Belgian Fernand Khnopff Gallery Fernand Khnopff was born to a wealthy family that was part of the high bourgeoisie for generations. Khnopff's ancestors had lived in Flanders since the early 17th-century but were of Austrian and Portuguese descent. Most male members of his family had been lawyers or judges, and young Fernand was destined for a juridical career. In his early childhood (1859-1864) he lived in Bruges where his father was appointed Substitut Du Procureur Du Roi. His childhood memories of the medieval city of Bruges would play a significant role in his later work. In 1864 the family moved to Brussels. To please his parents he went to law school at the Free University of Brussels (now divided into the Universite Libre de Bruxelles and the Vrije Universiteit Brussel) when he was 18 years old. During this period he developed a passion for literature, discovering the works of Baudelaire, Flaubert, Leconte de Lisle and other mostly French authors. With his younger brother Georges Khnopff - also a passionate amateur of contemporary music and poetry - he started to frequent Jeune Belgique ("Young Belgium"), a group of young writers including Max Waller, Georges Rodenbach, Iwan Gilkin and Emile Verhaeren. Khnopff left University due to a lack of interest in his law studies and began to frequent the studio of Xavier Mellery, who made him familiar with the art of painting. On the 25th of October 1876 he enrolled for the Cours De Dessin Apres Nature ("course of drawing after nature") at the Academie Royale des Beaux-Arts en Bruxelles. At the Academie, his most famous fellow student was James Ensor, whom he disliked from the start. Between 1877 and 1880 Khnopff made several trips to Paris where he discovered the work of Delacroix, Ingres, Moreau and Stevens. At the Paris World Fair of 1878 he became acquainted with the oeuvre of Millais and Burne-Jones. During his last year at the Acad??mie in 1878-1879 he neglected his classes in Brussels and lived for a while in Passy, were he visited the Cours Libres of Jules Joseph Lefebvre at the Acad??mie Julian.
Franz Thomas Low
Lived in 18th centry.
Francesco Zuccarelli
Italian 1702-1788 1788). Italian painter and draughtsman, active in England. Zuccarelli training began in Florence, where he engraved the frescoes by Andrea del Sarto in SS Annunziata. He then studied in Rome under Paolo Anesi and learnt figure drawing from Giovanni Maria Morandi (1622-1717), although in this he never acquired any great skill. His earliest recorded paintings were Mary Magdalene and St Jerome (both untraced), which he contributed to the exhibition of the feast of St Luke in Florence in 1729. He also painted portraits. Around 1730 he moved to Venice and began painting landscapes exclusively. His interest in this field may have led to his becoming acquainted with the Welsh landscape painter Richard Wilson in 1750-51. Wilson painted a lively portrait of him (1751; London, Tate) in exchange for one of Zuccarellis landscapes. Zuccarelli avoided both the topographical type of Venetian view developed by Canaletto and the stormier landscapes of Marco Ricci, adopting instead a decorative landscape style of idealized Italian countryside. His subject-matter was usually unspecific rather than recognizably historical, biblical or mythological. For example, in the early 1740s he executed six paintings purporting to be scenes from the story of Jacob, but the paintings themselves bear few references to it (e.g. Landscape with Two Seated Women Embracing, 1743; Windsor Castle, Berks, Royal Col.).