(known as P.C. Skovgaard), (4 April 1817 - 13 April 1875), Danish national romantic landscape painter, was born near Ringsted to farmer Tham Masmann Skovgaard and his wife Cathrine Elisabeth. He is one of the main figures associated with the Golden Age of Danish Painting. He is especially known for his large scale portrayals of the Danish landscape. The family had to leave the farm when he was six years old. They moved to Vejby in north Sjælland where his father earned his living as a grocer. Already as a young child he impressed his family with his artistic abilities. His mother, who had studied art under flower painter Claudius Ditlev Fritsch, gave him instructions in drawing until he was confirmed and could be sent to Copenhagen for training at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi).   Related Paintings of P.C. Skovgaard :. | El Jaleo | countryside Beverley | Princess Elisabeth of France | Smash | Temple of Segesta with the Artist Sketching |
Related Artists:
EECKHOUT, Gerbrand van den
Dutch Baroque Era Painter, 1621-1674 Dutch painter, draughtsman and etcher. He was the son of the goldsmith Jan Pietersz. van den Eeckhout and 'a great friend' as well as a pupil of Rembrandt, according to Houbraken, who commented that van den Eeckhout painted in the style of his master throughout his career. This is certainly true of van den Eeckhout's (biblical) history paintings, but less so of either his portraits, which gradually displayed more Flemish elegance, or his genre pieces (from 1650), in which he followed various trends; he adapted his style to suit his subject with sensitive versatility. He was also a gifted colourist and an artist of great imagination, superior in both these respects to such better-known Rembrandt pupils as Ferdinand Bol and Nicolaes Maes. Moreover, he was extremely productive, and there is at least one dated painting for virtually every year between 1641 and 1674. In addition, he created a large body of drawings comprising histories, figures, landscapes and genre scenes executed in various media, including watercolour.
Jean-Baptiste Pater
Jean-Baptiste Pater (December 29, 1695 - July 25, 1736) was a French rococo painter. Born in Valenciennes, Pater was the son of sculptor Antoine Pater and studied under him before becoming a student of painter Jean-Baptiste Guide. Pater then moved to Paris, briefly becoming a pupil of Antoine Watteau in 1713. Watteau, despite treating Pater badly, had a significant influence on him. However the two quarreled and Pater returned to Valenciennes, where he remained for two years. In 1721, Pater and the dying Watteau reconciled; subsequently Pater became a student of Watteau once again, although only for a month before the latter's death. Pater later claimed to have learnt everything he knew during those few weeks with Watteau. He was accepted into the Academie in 1728, presenting a large military work in the popular Watteau style - La Rejouissance des Soldats (Louvre).[1] Pater adopted the popular Fete galante subject matter, heavily imitating his teacher Watteau, indeed he directly copied some of his figures. Pater used a traditional Rococo pastel palette. His most characteristic difference in style from other artists of the time surrounded his use of shimmering lines. His most prominent customer was Frederick the Great, who sat for two portraits in the "Turquerie" style: LeSultan au Harem and Le Sultan au Jardin. One of Pater's most renowned works is Landscape with a Cart (Schloss Charlottenburg), which is considered to display a feathery application of paint that anticipates Francesco Guardi. The delicately constructed subject matter and figures subordination to the buildings represent a movement away from fete galante, however this development was cut short by Pater's death in 1736.
CIMA da Conegliano
Italian Painter, ca.1459-1517 Italian painter. He belonged to the generation between Giovanni Bellini and Giorgione and was one of the leading painters of early Renaissance Venice. His major works, several of which are signed, are almost all church altarpieces, usually depicting the Virgin and Child enthroned with saints; he also produced a large number of smaller half-length Madonnas. His autograph paintings are executed with great sensitivity and consummate craftsmanship. Fundamental to his artistic formation was the style that Bellini had evolved by the 1470s and 1480s; other important influences were Antonello da Messina and Alvise Vivarini. Although Cima was always capable of modest innovation, his style did not undergo any radical alteration during a career of some 30 years, and his response to the growing taste for Giorgionesque works from the early 16th century remained superficial. He seems to have maintained a sizeable workshop,