b.Jan. 8, 1836, Dronrijp, Netherlands. d.June 25, 1912, Wiesbaden, Germany. Painter and designer of Dutch birth. The son of a notary, Alma-Tadema demonstrated an early artistic ability. In 1852 he entered the Antwerp Academy, where he studied under Gustaf, Baron Wappers, and Nicaise de Keyser. An important influence at this time was Louis De Taye, Professor of Archaeology at the academy and a practising artist. Alma-Tadema lived and worked with De Taye from 1857 to 1859 and was encouraged by him to depict subjects from the early history of France and Belgium. This taste for historical themes increased when Alma-Tadema entered Baron Henri Leys studio in 1859 and began assisting him with his monumental frescoes for the Antwerp Town Hall. While in Leys studio, Alma-Tadema produced several major paintings, for example the Education of the Children of Clovis (1861; ex-Sir John Pender priv. col., see Zimmern, p. 3) and Venantius Fortunatus Reading his Poems to Radagonda (1862; Dordrecht, Dordrechts Mus.), which are characterized by their obscure Merovingian subject-matter, rather sombre colouring and close attention to detail.  Related Paintings of Alma-Tadema, Sir Lawrence :. | The Poet Gallus Dreaming (mk23) | Coign of Vantage (mk23) | The Voice of Spring (mk23) | Portrait of Ignacy Jan Paderewski (mk23) | The Meeting of Antony and Cleopatra (mk23) |
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John Wesley Jarvis
(1781 - January 14, 1839), American painter, nephew of Methodist leader John Wesley, was born at South Shields, England, and was taken to the United States at the age of five. He was one of the earliest American painters to give serious attention to the study of anatomy. He lived at first in Philadelphia, afterwards establishing himself in New York City, where he enjoyed great popularity, though his conviviality and eccentric mode of life affected his work. He visited Baltimore, Charleston, and New Orleans, entertaining much and painting portraits of prominent people, particularly in New Orleans, where General Andrew Jackson was one of his sitters. He had for assistants at different times both Thomas Sully and Henry Inman. He affected singularity in dress and manners, and his mots were the talk of the day. But his work deteriorated, and he died in great poverty in New York City.
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Richard Brompton
1734-1783 English painter. He trained in London with Benjamin Wilson before going to Rome in 1757, where he studied with Anton Raphael Mengs. In Rome he met Charles Compton, 7th Earl of Northampton, who paid him an allowance and in Venice in 1763 introduced him to Edward Augustus, Duke of York. The Duke commissioned a conversation piece of himself and his travelling companions (version, 1764; London, Kew Pal., Royal Col.). The figures are awkwardly posed, but the polished elegance of each shows the influence of Mengs. In 1765 Brompton returned to London with Nathaniel Dance and established a good practice with small-scale works in the manner of Johann Zoffany, such as William Pitt, 1st Earl of Chatham (1772; Chevening, Kent), which exists in several versions. He also produced portraits on a larger scale, including the enormous Henry Dawkins with his Family (1773; Over Norton Hall, Oxon).