Date of birth: June 8, 1810 at Zwickau, Germany
Died: Jul 29, 1856 in Endenich, Germany Death: July 29, 1856 at Endenich, Germany Related Paintings of robert schumann :. | painted in 1823 by ferdinand georg waldmuller | viennese street csene during the of brahms the fruit market on the quayside near the maria theresa bridge | the opening of the theater in der josefstadt in vienna | beethoven s ear trumpet lying on the manuscript of his eroica symphony | brahms had always been a fine pianist, having played since the age of seven | Related Artists:
Lower Rhenish Schoolearly fifteenth century
Floris van DijckDutch Baroque Era Painter, 1575-1651
Dutch painter and draughtsman. He is thought to have been a pupil of Rembrandt in Amsterdam c. 1650. There is no documentary evidence for this, but his earliest dated painting, the Presentation in the Temple shows that he had certainly seen examples of Rembrandt work. He was an eclectic artist, given to following several models simultaneously. This is evident from two versions of Elijah and the Widow of Zarephath; one (1655-60; Copenhagen, Stat. Mus. Kst) is painted in horizontal format in the style of Barent Fabritius, while the other (1655-60; Milwaukee, WI, A. Bader priv. col., see Sumowski, 1983, no. 362) features large half-length figures in the manner of Nicolaes Maes. In another biblical scene, Benjamin and Judah (1655-60; Chicago, IL, A. Inst.), he followed the example of Rembrandt. His best works, such as Saying Grace (1655-60; Hannover, Nieders?chs. Landesmus.) and the Old Prophetess (1655-60; Leipzig, Mus. Bild. Kst), show old women either praying or sleeping and confirm that Maes was his main source of inspiration. Similar subjects are represented in the drawings attributed to him (e.g. Old Woman Seated, Holding a Book; New York, Pierpont Morgan Lib.). In the late 1650s van Dijck also seems to have been influenced by the genre paintings of Gabriel Metsu and above all by Quiringh van Brekelenkam, as in Hermit Praying in a Cave (late 1650s; St Petersburg, Hermitage) and Family Saying Grace (late 1650s; Stockholm, Nmus.).
William Degouwe de Nuncques (28 February 1867 - 1 March 1935) was a Belgian painter.
He was born at Montherme, the Ardennes, France, of an old aristocratic family, After the Franco-Prussian war (1870-71), his parents settled in Belgium, and he taught himself to paint. In 1894 he married fellow artist Juliette Massin, who introduced him to the circle of Symbolist poets, who had a considerable influence on his style. He belonged to the avant-garde group Les XX and later exhibited at La Libre Esthetique. He travelled widely and painted views of Italy, Austria and France, often of parks at night. His best-known pictures, Pink House (1892), The Angels (1894), and Peacocks (1896), demonstrate the magical quality of his work. Pink House is thought to have been a major influence on Surrealism, especially the paintings of Rene Magritte.
He is supposed to have said "To make a painting, all you need to do is to take some paints, draw some lines, and fill the rest up with feelings." A regular exhibitor in Paris, he was championed by Puvis de Chavannes and Maurice Denis.
From 1900 to 1902 he and his wife lived in the Balearic Islands, where he painted the rugged coastline and the orange groves. After suffering a religious crisis around 1910, he painted pictures that revealed his tormented state of mind, and during World War I, while a refugee in the Netherlands, he produced only minor works. In 1919 he was overwhelmed by the death of his wife and lost the use of one hand. In 1930 he married the woman who had helped him through the crisis. They settled in Stavelot, where he spent his last few years painting snow-covered landscapes.
The best collection of his paintings is in the Kröller-Meller Museum, Otterlo.