painted Markisches Dorf in 1888  Related Paintings of Walter Moras :. | A sunny winters day | Mondschein uber hollandischen Hafen | Abendfrieden | Markische Landschaftsdarstellung mit einer Lichtung am Laubwald. | Romantische Winterlandschaft |
Related Artists:
Bischoff, Franz
Austrian, practiced mainly in America, 1864-1929 was an American artist known primarily for his beautiful floral paintings and California landscapes. He was born in Bomen, Austria on January 9, 1864 and as a young teenager immigrated to the United States where he became a naturalized citizen. While in Europe, his early training was focused upon applied design, watercolor and ceramic decorations.After having lived and worked in New York, Fostoria, Ohio and Dearborn, Michigan, Franz Bischoff decided to visit California in 1900 and ultimately chose to settle in Los Angeles in 1906. Shortly after arriving, he started making arrangements to design and build a large Italian Renaissance style home in Pasadena that also became his studio. This landmark home was completed in 1908. Inspired by the California countryside, Bischoff set attempted to capture the area's brilliant light and diverse landscapes. Spending less time with ceramic painting, Bischoff painted local farms, fishing wharfs, and coastal landscapes. Recognized during his career for use of color and vivid composition, his paintings always displayed reverence for nature.
Thomas Gainsborough
1727-1788 British Thomas Gainsborough Locations English painter, draughtsman and printmaker. He was the contemporary and rival of Joshua Reynolds, who honoured him on 10 December 1788 with a valedictory Discourse (pubd London, 1789), in which he stated: If ever this nation should produce genius sufficient to acquire to us the honourable distinction of an English School, the name of Gainsborough will be transmitted to posterity, in the history of Art, among the very first of that rising name. He went on to consider Gainsborough portraits, landscapes and fancy pictures within the Old Master tradition, against which, in his view, modern painting had always to match itself. Reynolds was acknowledging a general opinion that Gainsborough was one of the most significant painters of their generation. Less ambitious than Reynolds in his portraits, he nevertheless painted with elegance and virtuosity. He founded his landscape manner largely on the study of northern European artists and developed a very beautiful and often poignant imagery of the British countryside. By the mid-1760s he was making formal allusions to a wide range of previous art, from Rubens and Watteau to, eventually, Claude and Titian. He was as various in his drawings and was among the first to take up the new printmaking techniques of aquatint and soft-ground etching. Because his friend, the musician and painter William Jackson (1730-1803), claimed that Gainsborough detested reading, there has been a tendency to deny him any literacy. He was, nevertheless, as his surviving letters show, verbally adept, extremely witty and highly cultured. He loved music and performed well. He was a person of rapidly changing moods, humorous, brilliant and witty. At the time of his death he was expanding the range of his art, having lived through one of the more complex and creative phases in the history of British painting. He painted with unmatched skill and bravura; while giving the impression of a kind of holy innocence, he was among the most artistically learned and sophisticated painters of his generation. It has been usual to consider his career in terms of the rivalry with Reynolds that was acknowledged by their contemporaries; while Reynolds maintained an intellectual and academic ideal of art, Gainsborough grounded his imagery on contemporary life, maintaining an aesthetic outlook previously given its most powerful expression by William Hogarth. His portraits, landscapes and subject pictures are only now coming to be studied in all their complexity; having previously been viewed as being isolated from the social, philosophical and ideological currents of their time, they have yet to be fully related to them. It is clear, however, that his landscapes and rural pieces, and some of his portraits, were as significant as Reynolds acknowledged them to be in 1788.
Henri Felix Emmanuel Philippoteaux
(1815-1884) was a French artist. He was born in Paris, France, studied art at the studio of Leon Cogniet,and first exhibited his work at the Paris Salon of 1833. One of his most well-known works was a depiction of the Siege of Paris during the Franco-Prussian War, painted in the form of a cyclorama, a type of large panoramic painting on the inside of a cylindrical platform designed to provide a viewer standing in the middle of the cylinder with a view of the painting. Viewers surrounded by the panoramic image are meant to feel as if they are standing in the midst of a historic event or famous place. Philippoteaux also produced a large number of works chronicling the rise and successes of Napoleon Bonaparte, including a portrait of Napoleon in his regimental uniform and a group of paintings of French victories in the Napoleonic Wars. Philippoteaux was awarded the Legion d'honneur in 1846. Philippoteaux's son Paul Philippoteaux was also an artist; both were famous for their production of cycloramas. Father and son collaborated on The Defence of the Fort d'Issy in 1871.