German, 1851-1917 was a German realist painter of the circle of Wilhelm Leibl. Trubner was born in Heidelberg and had early training as a goldsmith. In 1867 he met classicist painter Anselm Feuerbach who encouraged him to study painting, and he began studies in Karlsruhe under Fedor Dietz. The next year saw him studying at the Kunstacademie in Munich, where he was to be greatly impressed by an international exhibition of paintings by Leibl and Gustave Courbet. Courbet visited Munich in 1869, not only exhibiting his work but demonstrating his alla prima method of working quickly from nature in public performances. This had an immediate impact on many of the city's young artists, who found Courbet's approach an invigorating alternative to the shopworn academic tradition. The early 1870s were a period of discovery for Tr??bner. He travelled to Italy, Holland and Belgium, and in Paris encountered the art of Manet, whose influence can be seen in the spontaneous yet restrained style of Trubner's portraits and landscapes. During this period he also made the acquaintance of Carl Schuch, Albert Lang and Hans Thoma, German painters who, like Trubner, greatly admired the unsentimental realism of Wilhelm Leibl. This group of artists came to be known as the "Leibl circle". He published writings on art theory in 1892 and 1898, which express above all the idea that "beauty must lie in the painting itself, not in the subject". By urging the viewer to discover beauty in a painting's formal values, its colors, proportions, and surface, Trubner advanced a philosophy of "art for art's sake".   Related Paintings of Wilhelm Trubner :. | Gorgonenhaupt | Bootssteg auf der Herreninsel im Chiemsee | Adler | Teerosen und Flieder im Glas | Teerosen und Flieder im Glas |
Related Artists:
Fisher Jonathan
American. b.1768 d.1847 was the first Congregational minister from 1794 to 1837 in the small village of Blue Hill, Maine in the United States. Although his primary duties as a country parson engaged much of his time, Fisher was also a farmer, scientist, mathematician, surveyor, and writer of prose and poetry. He bound his own books, made buttons and hats, designed and built furniture, painted sleighs, was a reporter for the local newspaper, helped found Bangor Theological Seminary, dug wells, built his own home and raised a large family. Truly a renaissance man in the breadth of his accomplishments Fisher invites comparison with a Franklin or Jefferson. In his manners, morals and writings Fisher represents the best of the vigorous New England churchmen who shaped the standards of their congregations during America's formative years.
Nicolas Maes
1634-1693 Dutch Nicolas Maes Galleries Nicolaes Maes, also known as Nicolaes Maas (January 1634, Dordrecht - buried November 24, 1693, Amsterdam) was a Dutch Baroque painter of genre and portraits. Maes was the son of Gerrit Maes, a prosperous merchant, and Ida Herman Claesdr. In about 1648 he went to Amsterdam, where he entered Rembrandt's studio. Before his return to Dordrecht in 1653 Maes painted a few Rembrandtesque genre pictures, with life-size figures and in a deep glowing scheme of colour, like the Reverie at the Rijksmuseum in Amsterdam, the Card Players at the National Gallery, and the Children with a Goat Carriage. So closely did his early style resemble that of Rembrandt, that the last-named picture, and other canvases in the Leipzig and Budapest galleries and in the collection of Lord Radnor, were or are still ascribed to Rembrandt. In his best period, from 1655 to 1665, Maes devoted himself to domestic genre on a smaller scale, retaining to a great extent the magic of colour he had learnt from Rembrandt. Only on rare occasions did he treat scriptural subjects, as in Hagar's Departure, which has been ascribed to Rembrandt. His favorite subjects were women spinning, or reading the Bible, or preparing a meal. While he continued to reside in Dordrecht until 1673, when he settled in Amsterdam, he visited or even lived in Antwerp between 1665 and 1667. His Antwerp period coincides with a complete change in style and subject. He devoted himself almost exclusively to portraiture, and abandoned the intimacy and glowing color harmonies of his earlier work for a careless elegance which suggests the influence of Van Dyck. So great indeed was the change, that it gave rise to the theory of the existence of another Maes, of Brussels. Maes is well represented at the London National Gallery by five paintings: The Cradle, The Dutch Housewife, The Idle Servant, The Card Players, and a man's portrait. At Amsterdam, besides the splendid examples to be found at the Rijksmuseum, is the Inquisitive Servant of the Six collection. At Buckingham Palace is The Listening Girl (repetitions exist), and at Apsley House Selling Milk and The Listener. Other notable examples are at the Berlin, Brussels, St Petersburg, the Hague, Frankfort, Hanover and Munich galleries.
Charles Loring Elliott
1812-1868. Elliott was born at Auburn, New York in the central part of the state. He began working as a painter in his region. After 10 years, he moved to New York City to study art under the painters John Trumbull and John Quidor, as well as to be in a bigger market for work. After practicing portrait painting in central New York State for 10 years, Elliott took up residence in New York City in 1845. The following year he was elected to the National Academy of Design, which was a measure of recognition and helped him attract more clients. Painting by Elliott of Samuel Putnam Avery, 1863Elliott was considered the best portraitist of his day. Although he never studied abroad, his technique is neither provincial nor uncertain. His method is mature, his drawing firm, his color fresh and clean, and his likenesses excellent, though somewhat lacking in sentiment.[citation needed] He was said to have painted over 700 portraits, mostly heads, as he had little idea of the composition of large canvases. He also painted figure pieces, including Don Quijote and Falstaff, and one landscape, The Head of Skaneateles Lake.