Swedish, 1858-1930,Swedish painter, draughtsman and illustrator. From 1874 he studied at the Konstakademi in Stockholm, where he soon became a friend of Richard Bergh and Karl Nordstrem, both of whom were later prominent exponents of the more advanced Swedish painting of the 1880s and 1890s. After being forced to interrupt his studies because of illness, Kreuger trained from 1878 at the art school of Edvard Perseus (1841-90) in Stockholm before he travelled to Paris, where he stayed for the most part until 1887. He made his d?but at the Paris Salon in 1882, and he also resided in the artists' colony in Grez-sur-Loing. During this period he painted such works as Old Country House (1887; Stockholm, Nmus.) with a free brushwork and sense of light that owed much to Jules Bastien-Lepage. In 1885 Kreuger was active in organizing the Opponenterna, a protest movement led by Ernst Josephson against the conservative establishment of the Konstakademi in Stockholm, and the following year he helped to found the Konstn?rsf?rbund (Artists' Union). Like the majority of the Konstnersferbund's members, Kreuger abandoned the French-inspired plein-air realism of the 1880s for symbolically coloured National Romanticism in the 1890s. For Kreuger this change took place between 1893 and 1896 in Varberg on the west coast of Sweden, where, together with Bergh and Nordstrem, he founded the Varberg Group. Drawing on Paul Gauguin's Synthetism, the group contributed to the formation of the National Romantic style of the 1890s in Sweden. Kreuger's encounter with van Gogh's drawings at an exhibition in Copenhagen in 1893 also played a decisive role in his development. He devised an intensely personal style in which the landscape was composed in large blocks that were then covered by a pattern of directional lines and dots in India ink (somewhat in the manner of van Gogh's late landscape drawings) to bring out the painting's colour values and create an effect of decoratively stylized forms: for example Spring in Halland (1894; Stockholm, Nmus.). Kreuger was also a prolific draughtsman and illustrator.   Related Paintings of Nils Kreuger :. | Laugh finicky caporal | host, varberg | snovader, paris | en kuststad , varberg | i regnvader, motiv fran paris |
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Victor Westerholm
Finnish, 1860-1919 Finnish painter. He studied at the School of Drawing in Turku from 1869 to 1878. In 1878 he travelled to Dosseldorf and enrolled at the Kunstakademie, where he attended classes on landscape painting by Eugen Docker until 1886. He spent his summers in Finland, on the aland Islands, preparing sketches that provided the groundwork for many of the paintings he produced in Dosseldorf. Although Westerholm began working according to the principles of studio painting, his vivid studies are often imbued with the crispness of the plein-air style. In the early 1880s he concentrated on painting autumnal scenes and rapidly became the leading landscape artist of the younger generation with such works as the Mail-packet Jetty at Ecker (1885; Hemeenlinna, A. Mus.).
Lambdin, George Cochran
American Painter, 1830-1896 American painter. He was a son of the portrait and landscape painter James R. Lambdin (1807-89), who had founded a museum in Pittsburgh in 1828 and directed the Pennsylvania Academy of the Fine Arts in Philadelphia from 1845 to 1864. George Lambdin studied with his father and began exhibiting at the Pennsylvania Academy in 1848 and at the National Academy of Design, New York, in 1856. In the mid-1850s he travelled, probably to Munich, Paris and Rome. His early works were sentimental genre paintings, the best known of which are Our Sweetest Songs (1857; New York, N. Acad. Des.) and the Dead Wife (The Last Sleep) (exh. 1858; Raleigh, NC Mus. A.). The latter was shown at the Exposition Universelle in Paris in 1867 together with one of his depictions of a Civil War subject, Consecration, 1861 (1865; Indianapolis, IN, Mus. A.). In 1868-9 he was at the Tenth Street Studio Building, New York, where he continued to exhibit anecdotal genre, especially childhood subjects, as in The Pruner (1868; Boston, MA, Mus. F.A.). He was elected an Academician by the Pennsylvania Academy in 1863 and by the National Academy of Design in 1868. In Germantown, after a short trip abroad in 1870, Lambdin turned to floral studies, especially of roses from his own garden. Some of his floral still-life subjects were conventional table-top arrangements in glass or ceramic vases, but most were paintings of blooming plants and shrubs as they grow in nature or in garden pots, their foliage and blossoms silhouetted against blue sky or a neutral wall, as in Autumn Sunshine
Andrea del Castagno
Italian c1421-1457 Andrea del Castagno Location Italian c1421-1457 Andrea del Castagno Location Italian painter. He was the most influential 15th-century Florentine master, after Masaccio, of the realistic rendering of the figure and the representation of the human body as a three-dimensional solid by means of contours. By translating into the terms of painting the statues of the Florentine sculptors Nanni di Banco and Donatello, Castagno set Florentine painting on a course dominated by line (the Florentine tradition of disegno), the effect of relief and the sculptural depiction of the figure that became its distinctive trait throughout the Italian Renaissance, a trend that culminated in the art of Michelangelo.