Dessa ornitologer, forskare, naturvetenskapliga illustratörer och konstnärer var födda i Haminanlaks nära Kuopio i Finland. I Stockholm i augusti 1828 påbörjade Magnus och Wilhelm von Wright bildverket Svenska Foglar, finansierat av greve Nils Bonde. Detta ornitologiska verk blev klart 1838 och ar en en samling pa178 litografier.   Related Paintings of broderna von wrights :. | hane av rapphona | ung stare | skator vid en dod tjaderbona | bergfinkshona | smaskrakshane under sitt andra ar |
Related Artists:
Hans Makart
(May 28, 1840 - October 3, 1884) was a 19th century Austrian academic history painter, designer, and decorator; most well known for his influence on Gustav Klimt and other Austrian artists, but in his own era considered an important artist himself and was a celebrity figure in the high culture of Vienna, attended with almost cult-like adulation. Makart was the son of a chamberlain at the Mirabell Palace, born in the former residence of the prince-archbishops of Salzburg. Initially, he received his training in painting at the Vienna Academy between 1850 and 1851 from Johann Fischbach. While in the Academy, German art was under the rule of a classicism, which was entirely intellectual and academice clear and precise drawing, sculpturesque modelling, and pictorial erudition were esteemed above all. Makart, who was a poor draughtsman, but who had a passionate and sensual love of color, was impatient to escape the routine of art school drawing. For his fortune, he was found by his instructors to be devoid of all talent and forced to leave the Vienna Academy. He went to Munich, and after two years of independent study attracted the attention of Karl Theodor von Piloty, under whose guidance, between 1861 and 1865 he developed his painting style. During these years, Makart also travelled to London, Paris and Rome to further his studies. The first picture he painted under Piloty, Lavoisier in Prison, though it was considered timid and conventional, attracted attention by its sense of color. In his next work, The Knight and the Water Nymphs, he first displayed the decorative qualities to which he afterwards sacrificed everything else in his work. His fame became established in the next year, with two works, Modern Amoretti and The Plague in Florence. His painting Romeo and Juliet was soon after bought by the Austrian emperor for the Vienna Museum, and Makart was invited to come to Vienna by the aristocracy. The prince Von Hohenlohe provided Makart with an old foundry at the Gusshausstraße 25 to use as a studio. He gradually turned it into an impressive place full of sculptures, flowers, musical instruments, requisites and jewellery that he used to create classical settings for his portraits, mainly of women. Eventually his studio looked like a salon and became a social meeting point in Vienna. Cosima Wagner described it as a "wonder of decorative beauty, a sublime lumber-room". His luxurious studio served as a model for a great many upper middle-class living rooms. The opulent, semi-public spaces of the Makart atelier were the scene of a recurring rendezvous between the artist and his public. The artist became the mediator between different levels of society: he created a socially ambiguous sphere in which nobility and bourgeoisie could encounter one another in mutual veneration of the master, and aestheticized the burgeoning self-awareness of the bourgeoisie by means of historical models drawn from the world of the aristocracy. In this way, an artist like Makart lived out the image that high society had created of him. Makart is considered by many as being the first art star, referred to by contemporaries an "artist prince" (Malerferst) in the tradition of Rubens. Makart became the acknowledged leader of the artistic life of the Vienna, which in the 1870s passed through a period of feverish activity, the chief results of which are the sumptuously decorated public buildings of the Ringstraße. He not only practised painting, but was also an interior designer, costume designer, furniture designer, and decorator, and his work decorated most of the public spaces of the era. His work engendered the term "Makartstil", or "Makart style", which completely characterized the era. In 1879, Makart had designed a pageant organised to celebrate the Silver Wedding Anniversary of the Imperial couple, emperor Franz Josef and his wife Elisabeth of Bavaria he designed, single-handed, the costumes, scenic setting, and triumphal cars. This became known as the "Makart-parade", and had given the people of Vienna the chance to dress up in historical costumes and be transported back into the past for a few hours. At the head of the parade was a float for artists, led by Makart on a white horse. His festivals became an institution in Vienna which lasted up until the 1960s. In the same year as the first parade he became a Professor at the Vienna Academy. Makart's painting The Entry of Charles V into Antwerp caused some controversy, because Charles V was depicted arriving in a procession surrounded by nude virgins; the offense was the mistaken idea that the nudes had no place in the modern scene. In the United States, the painting fell under the proscription of Anthony Comstock, which secured Makart's fame there. The American public desired at once to see what Comstock was persecuting, so they could tell whether he was acting correctly or in error. Salzburg's Makart Square, or Makartplatz, was named after the painter.
Caspar van Wittel
(born Caspar Adriaensz. van Wittel, later a.k.a. Gaspare Vanvitelli, Gasparo degli Occhiali) (1653 - September 13, 1736) was a Dutch Golden Age landscape painter. Van Wittel was born in Amersfoort. He learned painting first from Thomas Jansz van Veenendaal for 4 or 5 years and then from Matthias Withoos for 7 years, until Withoos left Amersfoort. In Amersfoort, he likely was exposed to Dutch landscape artists such as Jan van der Heyden and Gerrit Berckheyde. His first extant works were made in Hoorn in 1672, but he relocated to Rome with his family ca. 1675 and made his career there. Like his former teacher, he joined the Bentvueghels with the nickname "Piktoors" or "Toorts van Amersfoort"(torch of Amersfort). He married in Rome in 1697, and stayed most of his life in that city, though, between 1694 and 1710, he toured Italy and painted in places like Florence, Bologna, Ferrara, Venice, Milan, Piacenza and Naples. He is one of the principal painters of topographical views known as vedute. Gaspar van Wittel died in Rome. His son Luigi would become a famous architect and also carries the italianized family name of Vanvitelli. In Luigi's biography is written that his father was born in July 1656, but Van Wittel's grave in Rome states that he died at the age of 83 in 1736.
dioscoro teofilo de la puebla tolin
dioscoro teofilo de la puebla tolin(1831 to1901),who studied in madrid and rome,worked in the tradition fo historicism,asubgenre of history painting,which focused on the interplay of religious pride,patriotism ,and sntions of glory.tolin s technical style is referred to as eclecticism for its wide ranging,and often superficial ,borrowing from euopean techniques and visual trends. paintings in this genre were often funded by official organizations and art academies,which treated them as opportuities for propagandistic interpretations of history.the first landing of christopher columbus in america provides on shortage of drama