German , 1761-1847 He revealed an interest in art while still at school and, though he began to study theology in Leipzig in 1778, he soon transferred to the private art academy of Adam Friedrich Oeser (1717-99). Here he made copies of the work of his teacher and drew after plaster casts of antique statues. The Liber Veritatis, a collection of 200 drawings by Claude Lorrain, was also used as a model and had an important influence on him. In 1783 he went to Dresden where he was especially attracted to the Dutch landscape paintings in the Gem?ldegalerie. In 1785 Reinhart returned to Leipzig where he made the acquaintance of the German poet Friedrich Schiller, with whom he had a lifelong friendship, and to whom he later dedicated an etching of a heroic landscape (1800). From 1786 to 1789, while resident at the court of the Duke of Sachsen-Meiningen, he explored the Thuringian countryside on foot, making sketches as he went.  Related Paintings of Johann Christian Reinhart :. | Portrait of Portrait of Lady Eleanor Dutton | Two peasants, one with the bagpipes by a bridge | The Bridge | Harvest | Mary Magdalen in Penitence |
Related Artists:
Johann Caspar Schneider
Rhine valley by Johann Caspar Schneider in 1820
BASSANO, Jacopo
Italian High Renaissance Painter, ca.1510-1592 Jacopo Bassano (also known as Jacopo da Ponte, c. 1515 - 13 February 1592) was an Italian painter who was born and died in Bassano del Grappa near Venice, from which he adopted the name. His father Francesco Bassano the Elder was a "peasant artist" and Jacopo adopted some of his style as he created religious paintings with novel features including animals, farmhouses, and landscapes. He trained initially with his father, Francesco da Ponte the Elder, then in the studio of Bonifacio Veneziano. His mature style, however, followed the example of Titian. Having worked in Venice and other Italian towns, he established a workshop in Bassano with his four sons: Francesco the Younger (1549?C1592), Girolamo (1566?C1621), Giovanni Battista (1553?C1613), and Leandro (1557?C1622). They shared his style, and some works are difficult to attribute precisely.
Osbert, Alphonse
French Symbolist Painter, 1857-1939 French painter. He studied at the Ecole des Beaux-Arts and in the studios of Henri Lehmann, Fernand Cormon and L?on Bonnat. His Salon entry in 1880, Portrait of M. O. (untraced), reflected his early attraction to the realist tradition of Spanish 17th-century painting. The impact of Impressionism encouraged him to lighten his palette and paint landscapes en plein air, such as In the Fields of Eragny (1888; Paris, Y. Osbert priv. col.). By the end of the 1880s he had cultivated the friendship of several Symbolist poets and the painter Puvis de Chavannes, which caused him to forsake his naturalistic approach and to adopt the aesthetic idealism of poetic painting. Abandoning subjects drawn from daily life, Osbert aimed to convey inner visions and developed a set of pictorial symbols. Inspired by Puvis, he simplified landscape forms, which served as backgrounds for static, isolated figures dissolved in mysterious light. A pointillist technique, borrowed from Seurat, a friend from Lehmann's studio, dematerialized forms and added luminosity. However, Osbert eschewed the Divisionists' full range of hues in his choice of blues, violets, yellows and silvery green. Osbert's mysticism is seen in his large painting Vision