Alma Tadema
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Alma Tadema Museum
8 January 1836 – 25 June 1912. Most renowned painters.

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VALENTIN DE BOULOGNE
The Last Supper naqtr

ID: 09421

VALENTIN DE BOULOGNE The Last Supper naqtr
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VALENTIN DE BOULOGNE The Last Supper naqtr


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VALENTIN DE BOULOGNE

French Baroque Era Painter, ca.1594-1632  Related Paintings of VALENTIN DE BOULOGNE :. | The Concert | Judith and Holofernes | Saint Luc | Moses with the Tablets of the Law | The Fortune Teller (mk05) |
Related Artists:
Germain Hilaire Edgard Degas
1834-1917 impressionism,French
Robert Braithwaite Martineau
English genre and portrait Painter, 1826-1869 was an English painter. He first trained as a lawyer and later entered the Royal Academy where he was awarded a silver medal. He studied under Pre-Raphaelite artist William Holman Hunt and once shared a studio with him. He died at the age of 43. He married Maria Wheeler and had two children with her. His most famous painting, "The Last Day in the Old Home" portrays a man who has brought ruin upon his family and can be seen at the Tate Gallery in London. Other paintings were bequeathed to the Ashmolean Museum in Oxford and Liverpool Art Gallery by his daughter Helen. Other less well known paintings include "Kit's First Writing Lesson" and "Picciola".
Johann Jakob Ulrich
impression atist 28 Feb 1798 -- 17 March 1877. Swiss painter. He first studied under his father and then in Paris in 1822 in the studio of Jean-Victor Bertin. As a student he concentrated on unusual lighting effects in his landscape paintings well before they became a hallmark of the precursors of the Impressionists. In 1824 at the Salon in Paris he first saw paintings by Constable. On a trip to Italy in 1828 he did studies en plein air as preliminary sketches for his studio paintings. His early paintings emphasize brilliant colour, low horizons and scientific observation of cloud formations in a manner similar to Constable's studies, which he actually saw on visits to England in 1832 and 1835. Like Eugene Boudin, Ulrich was interested in poetic evocations of sun, water and effects of atmosphere rather than in the precise delineations of topography typical of Swiss art of that period. From 1824 he showed regularly at the Salons in Paris and in 1837 he returned to Zurich. Because the Swiss public was reluctant to accept his freer,






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