1810 Remscheid-1853 Dusseldorf, German painter. His artistic talent was recognized in 1827, while he was at school in D?sseldorf. The same year he embarked on a course in architecture at the Akademie in D?sseldorf. In 1828 he turned to the study of history painting. After a difference of opinion over the theory of art with the Director of the Akademie, Wilhelm von Schadow, Hasenclever went home to Remscheid. There he taught himself portrait painting. An example of his work from this period is the portrait of Gertraude Scharff (1832-3; Remscheid, Dt. Werkzeugmus. & Heimatmus.). From 1832 to 1838 Hasenclever again studied at the Akademie in D?sseldorf in a painting class taught by Ferdinand Theodor Hildebrandt (1804-74). In portraits and humorous genre paintings Hasenclever found a field suited to his gifts. Pithy commentaries on the everyday life of the lower middle classes are present in all of Hasenclever's work. He was best known for subjects such as wine-tastings and cellar scenes, and he also made a series of Jobs pictures, humorous, ironic interpretations of popular life based on the poem 'Jobsiade', a grotesque and comic heroic epic written by Carl Arnold Kortum in 1784.  Related Paintings of Johann Peter Hasenclever :. | Das Lesekabinett | Atelierszene | Hieronymus Jobs at His Exam | Ferdinand Freiligrath | The Construction of the Tower of Babel |
Related Artists:
Meunier, Constantin
Belgian Painter and Sculptor, 1831-1905 Belgian sculptor, painter and draughtsman. He was directed towards an artistic career by his elder brother, the engraver Jean-Baptiste Meunier (1821-1900). He entered the Acad?mie des Beaux-Arts, Brussels, in September 1845 and studied under the sculptor Louis Jehotte (1804-84) from 1848. In addition, in 1852 he attended the private studio of the sculptor Charles-Auguste Fraikin. Gradually he came to feel that sculpture, at least in the traditional form taught in Brussels, was incapable of providing an adequate vehicle for either exposition or expression. Still at the Academy, he transferred to painting, therefore, in 1853, and followed the courses given by Fran?ois-Joseph Navez, studying in the evenings at the Saint-Luc studio, with Charles De Groux. He became friends with Louis Dubois, F?licien Rops and other rebellious young artists who were to found the Soci?t? Libre des Beaux-Arts in Brussels in 1868. With these, Meunier was part of the realist avant-garde, while seeking out a path of his own in painting. It has been said that De Groux had a decisive influence on Meunier. The latter partly denied this and insisted that he had felt the need very early to practise an art that was more devoted to the masses, to the people. His interest in everyday life, in the experience and condition of man, can already be discerned in the sketches and studies he made during his stays in the Trappist monastery of Westmalle, near Antwerp, between 1857 and 1875.
Paul Louis Martin des Amoignes
(1850- 1912 ) - Painter painted In the classroom. Signed and dated P.L. Martin des Amoignes 1886
Etienne Moreau-Nelaton
Adolphe Etienne Auguste Moreau-Nelaton (2 December 1859, Paris- 25 April 1927, Paris) was a French painter, art collector and art historian. His large collection is today held in its entirety by National French museums. Moreau-Nelaton's family's art collecting began with his grandfather Adolphe Moreau (1800-59). As a stockbroker he possessed ample capital with which to buy the work of artists with whom he was personally acquainted, including Eugene Delacroix and Alexandre-Gabriel Decamps. Moreau-Nelaton's father, who was also named Adolphe Moureau (1827-82), was a high government official and led the railroad company Chemins de fer de l'Est. In 1856 he married the ceramic artist Camille Nelaton (1840-97), with whom he further expanded the family's collection.