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8 January 1836 – 25 June 1912. Most renowned painters.

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Wladyslaw Czachorski
A lady in a lilac dress with flowers

ID: 88039

Wladyslaw Czachorski A lady in a lilac dress with flowers
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Wladyslaw Czachorski A lady in a lilac dress with flowers


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Wladyslaw Czachorski

(1850-1911) was a Polish artist. In 1866 Czachorski went to the Warsaw Drawing School and had Rafał Hadziewicz as a peer. Then he spent one year at the Dresden Academy and from there went to Munich Academy (1869-1873) some of his classmates were: Hermann Anschetz, Karl von Piloty, and Alexander Wagner. He received Magna Cum Laude (the Grand Silver Medal) from Munich, and proceeded to travel to France, Italy and Poland after his graduation. He held membership to Berlin academy and has also organizer and jurist of international exhibitions even though he had his home in Munich. He was awarded the Bavarian Order of Saint Michael in 1893. He had many art exhibitions in Poland. Some took place in Krakew, Warsaw, Łedź, and Lwew. After his death in 1911, a posthumous showing was held at the Warsaw "Zachęta" Society of Fine Arts. Some of Czachorski's noted works were: still lifes, painted portraits, and Shakespearean scenes. Some of these that he painted were: Julliette's Funeral (1873), Hamlet (1873), and, most notably, Hamlet Receiving the Players (1875); widely recognized as his greatest works. His paintings can be found in all the more famous and sizable museums of Poland. His works also make appearances in private collections in many countries including: Germany, Poland, England and the United States. They can also be found in foreign museums such as Lwew, Bremen and the Academia de San Carlos in Mexico City.   Related Paintings of Wladyslaw Czachorski :. | Horses in the Seine | Still Life with Bottle and Lemons on a Plate | A mother combing the hair of her child, known as Hunting for lice | The Adoration of the Shepherds (detail) | Joseph Reveals himself to his Brothers (mk45) |
Related Artists:
Ozias Humphry
Ozias Humphry (or Humphrey) (8 September 1742 -9 March 1810) was a leading English painter of portrait miniatures, later oils and pastels, of the 18th century. He was elected to the Royal Academy in 1791, and in 1792 he was appointed Portrait Painter in Crayons to the King. Born and schooled in Honiton, Devon, Humphrey was attracted by the gallery of casts opened by the Duke of Richmond and came to London to study art at Shipley's school. He also studied art in Bath (under Samuel Collins, taking over his practice in 1762); in Bath, he lodged with Thomas Linley. As a young artist, his talent was encouraged by Thomas Gainsborough and Sir Joshua Reynolds, among others. His problems with his sight, which ultimately led to blindness, began in the early 1770s and forced him to paint larger works in oils and pastel. He travelled to Italy in 1773 with his great friend George Romney, stopping en route at Knole, near Sevenoaks in Kent, where the Duke of Dorset commissioned several works from him. His stay in Italy lasted until 1777. On his return, his numerous subjects included George Stubbs (1777), fellow academician Dominic Serres, the chemist Joseph Priestley, and a portrait claimed to be of the teenage Jane Austen, from perhaps as early as 1790 (clothing styles suggest a later date), known as the "Rice" portrait after a later owner, though this has always been a controversial attribution of the sitter. This failed to reach its minimum estimate in a Christies auction in April 2007, and was withdrawn from sale. His pupils included John Opie. He compiled a fifty-page manuscript A Memoir of George Stubbs, based on what Stubbs had related to him; it is the only contemporary biography. This was edited and privately published in the 1870s and republished in 2005. He also knew William Blake and commissioned copies of some of his illustrated books. At least one of Blake's letters to him is a significant document for Blake's biographers.
WITZ, Konrad
b. cca 1400, Rottweil, d. ca. 1445, Basel. German-born painter from Rottweil in Swabia, active in Switzerland. German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art,
VELDE, Esaias van de
Dutch painter (b. ca. 1591, Amsterdam, d. 1630, Den Haag).






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