Danish Painter, 1853-1927
was a Danish painter specialising in figure painting. He was also associated with the Skagen group of painters. Tuxen grew up in Copenhagen and studied at the Royal Danish Academy of Art where together with P.S. Krøyer he was considered to be one of the best painters. He first visited Skagen in 1870 and he returned on several occasions. In the 1880s and 1890s, he travelled widely painting portraits for Europe's royal families including Christian IX of Denmark, Queen Victoria and the Russian royalty. In 1901, after the death of his first wife Ursule, he married the Norwegian Frederikke Treschow and shortly aferwards purchased Madam Bendsen's house at the artists' colony in Skagen in the north of Jutland, converting it into a stately summer residence. Related Paintings of Laurits Tuxen :. | nina, kunstnerens datter, pa stranden | The Drowned is braught on shore | liggende kvinde i klitteene | redningsbaden gar ud | The Family of Queen Victorin (mk25) | Related Artists:
Francois-Auguste Biard(June 30, 1799 - June 20, 1882) was a French genre painter.
Born at Lyon, he traveled around the world, sketching on the way. He was particularly successful in rendering burlesque groups.
His painting, Scenes on the Coast of Africa, depicted on the right, was the inspiration behind Isaac Julien's short film The Attendant (1993). Biard was a known abolitionist against the Atlantic slave trade.
Wikimedia Commons has media related to: Auguste François Biard
This article incorporates text from the public domain 1907 edition of The Nuttall Encyclopædia.
Jozef Szermentowskipainted Village near Kielce in 1870
Thomas Couture1815-1879
French
Thomas Couture Location
French painter and teacher. A student of Antoine-Jean Gros in 1830-38 and Paul Delaroche in 1838-9, he demonstrated precocious ability in drawing and was expected to win the Prix de Rome. He tried at least six times between 1834 and 1839, but achieved only second prize in 1837 (entry untraced). Disgusted with the politics of the academic system, Couture withdrew and took an independent path. He later attacked the stultified curriculum of the Ecole des Beaux-Arts and discouraged his own students from entering this institution. He first attained public notoriety at the Paris Salon with Young Venetians after an Orgy (1840; Montrouge, priv. col., see Boime, p. 85), the Prodigal Son (1841; Le Havre, Mus. B.-A.) and the Love of Gold (1844; Toulouse, Mus. Augustins). These early canvases are treated in a moralizing and anecdotal mode; the forms and compositional structures, like the debauched and corrupt protagonists, are sluggish and dull. Yet what made his work seem fresh to the Salon audience was his use of bright colour and surface texture derived from such painters as Alexandre-Gabriel Decamps and Eugene Delacroix, while his literary bent and methodical drawing demonstrated his mastery of academic tradition. The critics Thophile Gautier and Paul Mantz (1821-95) proclaimed him as the leader of a new school that mediated between the old and the new, and looked to him for a revitalization of Salon painting. The air of compromise his works projected made him appear a cultural representative of the juste milieu policies of Louis-Philippe.