American Golden Age Illustrator, 1882-1945 1882-1945,was an American artist and illustrator. He was the star pupil of the artist Howard Pyle, and became one of America's greatest illustrators. During his lifetime, Wyeth created over 3,000 paintings and illustrated 112 books,25 of them for Scribner's, the work for which he is best known. Wyeth was a realist painter just as the camera and photography began to compete with his craft. Sometimes seen as melodramatic, his illustrations were designed to be understood quickly Wyeth who was both a painter and an illustrator, understood the difference, and said in 1908,   Related Paintings of NC Wyeth :. | At the Cards in Cluny-s Cage | The First Maine Fisherman | And in the morning i took the bible and beginning at the new testament i began seriously to read it | At Last Howerer she had let pascal sarotte see her mind | I Saw His Horse Jump Back Dodgin-a Rattlesnake or Somethin |
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Francis Hayman
English Painter, 1708-1776,English painter and illustrator. He was in London at the age of 10, and from 1718 until c. 1725 he was apprenticed to Robert Brown (d 1753), a decorative painter. From 1732 Hayman was employed as a scene painter at Goodman's Fields Theatre, where he painted allegorical works such as The King Attended by Peace, with Liberty and Justice Trampling on Tyranny and Oppression on the pit ceiling (destr.). He moved to Drury Lane Theatre in 1736, shortly before the Licensing Act closed Goodman's Fields. At Drury Lane he painted scenery for Thomas Arne's masque The Fall of Phaeton (1736) and was praised for his naturalistic landscapes. From the late 1730s he began accepting commissions for portraits and conversation pieces. His success in the field of portraiture rested on the dearth of good portrait painters in England at the time and his exploitation of a growing middle-class clientele. Hayman painted portraits of doctors, literary men and actors.
Walter Withers
English-born Australian Painter, 1854-1914 was an Australian landscape artist and a member of the Heidelberg School of Australian impressionists. Withers was born at Handsworth, Staffordshire, the son of Edwin Withers. He showed an early desire to paint, but objection was made to this by his father. It is not known what occupation he followed in England, but in 1882 he arrived in Australia with the intention of going on the land. After working for about 18 months on a farm, Withers removed to Melbourne and obtained a position as draughtsman in a firm of printers. He then took up his painting again, and began to exhibit with the Victorian Academy of Arts afterwards merged in the Victorian Artists' Society. In 1887 Withers went to Europe. There he was married to Miss F. Flinn and studied for some months at the Academie Julian, Paris. He returned to Australia with his wife in June 1888 having been commissioned to do black and white work for Messrs Fergusson and Mitchell of Melbourne. His most important work in this way will be found in the illustrations to Edmund Finn's, The Chronicles of Early Melbourne. Withers settled down at first at Kew, a suburb of Melbourne, and then near Heidelberg on the other side of the river Yarra. He became friendly with Arthur Streeton, Charles Conder, Tom Roberts, Frederick McCubbin and other leading artists of the period. He began to sell a few pictures, but the collapse of the land boom put an end to his illustrative work. He obtained some work as a drawing and painting master in schools, and in 1891 opened a studio in Collins-street west, where he held his first private exhibition.
LAWRENCE, Sir Thomas
English painter (b. 1769, Bristol, d. 1830, London). Thomas Lawrence was born in Bristol on May 4, 1769. At Devizes, where his father was landlord of the Black Bear Inn, Thomas's talents first became known. Fanny Burney, a prodigy herself, reports that in 1780 Sir Joshua Reynolds had already pronounced Lawrence the most promising genius he had ever met. When Thomas was 10, his father moved the family to Oxford and then to Bath to take advantage of the portrait skill of his son. At the age of 17 Lawrence began to paint in oil, all his previous work having been in pastel. In 1787 the family moved to London, and by 1789 he was challenging Reynolds. When Reynolds died in 1792, Lawrence was appointed to the lucrative post of painter in ordinary to the king. He soon became the foremost portrait painter in England, a position he maintained until his death. His portraits of women are models of beauty and elegance, whether the sitter be a tragic actress like Mrs. Siddons, a social figure like the Princess de Lieven, or a personal friend. At the close of the Napoleonic Wars, Lawrence was knighted and commissioned to paint the leading sovereigns and statesmen of Europe. When he returned to England in 1820, he was elected president of the Royal Academy; he handled the affairs of his office with tact and urbanity. He died on Jan. 7, 1830. Following the English masters of the 18th century, Reynolds, Thomas Gainsborough, and George Romney, Lawrence carried on the great tradition of society portraiture and raised it to new heights of dash and elegance, though not of psychological penetration. He was by no means an artist of the astonishing insight of Gainsborough, and he did not have the occasionally disconcerting originality of Reynolds. Lawrence had their faults: all were affected by the distorting demands of their fashionable clientele, and all succumbed to them. He had the least to say, and he reflected his sitters' own best views of themselves, yet even they must sometimes have been surprised at their own magnificence. Handsome his portraits undoubtedly are; all the women are strikingly beautiful, the men brave and distinguished. Lawrence enjoyed his great success. He lived for his work, never married, and was a prodigious worker. He was of an exceptionally generous nature, as an artist and as a man, with a rare talent for appreciating and encouraging the talents of others. He was an ardent collector of Old Master drawings; his collection, which was dispersed after his death,