Anna Maria Thelott, född 1683, död 1710, var en svensk konstnär. Thelott var en av de första självförsörjande och professionella kvinnliga konstnärerna i Skandinavien. Anna Maria Thelott var dotter till instrumentmakaren och konstnären Philip Jacob Thelott d.ä., som ursprungligen kom från Schweiz, och syster till konstnären Philip Jacob Thelott d.y. Hon arbetade redan som barn sin med far och sina bröder i arbetet med att illustrera Olof Rudbeck d.ä.:s "Campus Elysii" och "Atlantica", och bidrog snart till hushållets försörjning genom att ensam utföra olika konstnärliga arbeten mot betalning, vilket gjorde henne till landets troligen första kvinnliga yrkeskonstnär. Familjen bodde ursprungligen i Uppsala, men flyttade år 1702 till Stockholm efter den stora stadsbranden då en stor del av Uppsala brann ned. Thelott var en mångsidig konstnär som var kunnig på en rad områden; hon utförde träsnitt och kopparstick förutom teckning och illustrationer med allegoriska och religiösa motiv, miniatyrer och bilder av djur och landskapsmålningar. Hon utförde elva träsnitt av tyska städer med tillhörande informativ text på uppdrag av Posttidningen år 1706 och anlitades för att illustrera Peringskiölds arbeten. År 1710 dog Anna Maria Thelott i Stockholm som en av många offer för den sista pesten i Sverige. På Uppsala universitetsbibliotek finns en skissbok av henne utförd 1704-1709.  Related Paintings of anna maria thelott :. | Charles Towneley in his Sculpture Gallery | The Birth of Jesus dfg | Landscape with a Horse | The Head of Farmhouse girl | Prise du palais des Tuileries |
Related Artists:
Merian, Matthaus the Younger
Swiss, 1621-1687
Jan van der Heyden
1637-1712 Dutch Jan Van Der Heyden Gallery Van der Heyden grew up in Gorcum, but the family moved to Amsterdam around 1650. They lived on Dam Square. As a young guy he witnessed the fire in the old townhall which made a deep impression on him. He later would describe or draw 80 fires in almost any neighborhood of Amsterdam. When he married in 1661 the family was living on Herengracht, the most fashionable canal in Amsterdam. In 1668 Cosimo II de' Medici bought one of his paintings, a view of the townhall with a manipulated perspective. Van der Heyden often painted country estates, like Goudestein, owned by Joan Huydecoper II. He was not good in drawing figures and used for his paintings a metal plate for bricks, a sponge or moss for the leaves. Johannes Lingelbach, Adriaen van de Velde und Eglon van der Neer assisted him drawing the figures. Jan van der Heyden also introduced the lamp post and in 1672 impoved the design of the fire engine. He died in wealth as the superintendent of the lighting and director of the (voluntary) firemen's guild at Amsterdam. Van der Heyden was a contemporary of the landscape painters Hobbema and Jacob van Ruisdael, with the advantage, which they lacked, of a certain professional versatility; for, whilst they painted admirable pictures and starved, he varied the practice of art with the study of mechanics. Until 1672 he painted in partnership with Adriaen van de Velde. After Adrian's death, and probably because of the loss which that event entailed upon him, he accepted the offices to which allusion has just been made. At no period of artistic activity had the system of division of labour been more fully or more constantly applied to art than it was in Holland towards the close of the 17th century. Van der Heyden, who was perfect as an architectural draughtsman insofar as he painted the outside of buildings and thoroughly mastered linear perspective, seldom turned his hand to the delineation of anything but brick houses and churches in streets and squares, or rows along canals, or "moated granges," common in his native country. He was a travelled man, had seen The Hague, Ghent and Brussels, and had ascended the Rhine past Xanten to Cologne, where he copied over and over again the tower and crane of the great cathedral. But he cared nothing for hill or vale, or stream or wood. He could reproduce the rows of bricks in a square of Dutch houses sparkling in the sun, or stunted trees and lines of dwellings varied by steeples, all in light or thrown into passing shadow by moving cloud. He had the art of painting microscopically without loss of breadth or keeping. But he could draw neither man nor beast, nor ships nor carts; and this was his disadvantage. His good genius under these circumstances was Adrian van der Velde, who enlivened his compositions with spirited figures; and the joint labour of both is a delicate, minute, transparent work, radiant with glow and atmosphere.
Victor Schivert
(1863-1926?) was a renowned Romanian painter He painted illustrations of the Thirty Years War. One of his paintings "Kriegsbeute" was reported stolen in 2005 from Bohemia (Czech Republic).