Alma Tadema
Alma Tadema's Oil Paintings
Alma Tadema Museum
8 January 1836 – 25 June 1912. Most renowned painters.

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Markus Pernhart
Fischerhutte am Worthersee

ID: 98065

Markus Pernhart Fischerhutte am Worthersee
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Markus Pernhart Fischerhutte am Worthersee


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Markus Pernhart

Markus Pernhart (1824-1871)  Related Paintings of Markus Pernhart :. | Painting of Castle Harbach in the 19th century | Worthersee gegen Sudwesten mit Mittagskogel | Maria Worth | Worthersee bei Loretto mit Eislaufern | Fischerhutte am Worthersee |
Related Artists:
Cosmas Damian asam
1686-1739 Tegernsee, Bavaria died April 29, 1750, Mannheim, Palatinate) Bavarian architects and decorators. After studying in Rome (1711 C 13), Cosmas Damian became a prolific fresco painter, and his brother, Egid Quirin, became a sculptor and stuccoist. They developed the effects of dramatic lighting and illusionism originated by Gian Lorenzo Bernini and Andrea Pozzo. Working as a team, they produced magnificent illusionistic decoration in ecclesiastical buildings, combining dramatic lighting and colour. Their works are notable for their profound and dramatic intensity of religious feeling. The brothers became the principal late Baroque exponents of illusionist decoration in religious architecture. Their most notable collaboration is the church of St. John Nepomuk in Munich
Cesare Mussini
painted Atala in 1835
Jean-Auguste Dominique Ingres
French Neoclassical Painter, 1780-1867 was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..






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