Alma Tadema
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8 January 1836 – 25 June 1912. Most renowned painters.

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Alma-Tadema, Sir Lawrence
Laura Alma-Tadema (mk23)

ID: 23012

Alma-Tadema, Sir Lawrence Laura Alma-Tadema (mk23)
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Alma-Tadema, Sir Lawrence Laura Alma-Tadema (mk23)


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Alma-Tadema, Sir Lawrence

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 :. | Portrait of Ignacy Jan Paderewski (mk23) | A Sculpture's Model (mk23) | The melodrama of such works (mk24) | Faust and Marguerite (mk23) | A Roman Art Lover (mk23) |
Related Artists:
Luca Giordano
Italian Baroque Era Painter, ca.1634-1705 Italian painter and draughtsman, active also in Spain. He was one of the most celebrated artists of the Neapolitan Baroque, whose vast output included altarpieces, mythological paintings and many decorative fresco cycles in both palaces and churches. He moved away from the dark manner of early 17th-century Neapolitan art as practised by Caravaggio and his followers and Jusepe de Ribera, and, drawing on the ideas of many other artists, above all the 16th-century Venetians and Pietro da Cortona, he introduced a new sense of light and glowing colour, of movement and dramatic action.
Michael Wolgemut
German Northern Renaissance Painter and Printmaker, ca.1434-1519,German painter and printmaker, was born and died in Nuremberg.Little is known of Wolgemut's private life. He trained with his father Valentin Wolgemut (who died in 1469 or 1470) and in 1472 he married the widow of his former apprentice-master, the painter Hans Pleydenwurff, whose son Wilhelm worked as an assistant, and from 1491 a partner, to his stepfather. Some consider Wilhelm Pleydenwurff a finer artist than Wolgemut, however he died in January 1494, when he was probably still in his thirties. Wilhelm's oeuvre remains unclear, though works in various media have been attributed to him. The importance of Wolgemut as an artist rests, not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Durer, who completed an apprenticeship with him between 1486-9.
Giovanni Gerolamo Savoldo
Italian Mannerist Painter , c. 1480 - aft.1548 was an Italian High Renaissance painter. Savoldo was born in Brescia, but little is known about his early years. Some sources claim he was known as Girolamo Bresciano. By 1506 he was in Parma, and by 1508, he had joined the Florentine painter??s guild. In this period he finished the Rest at the Flight from Egypt (Augsburg), the Elijah Harassed by a Crow (National Gallery of Art, Washington), and a Deposition. In 1515 he painted the Portrait of a Clad Warrior, wrongly identified with Gaston de Foix. Also from the same period his the Temptings of St. Anthony, which appears to show the influence of the Flemish Hieronymus Bosch. The works was appreciated by the commissioners from Venice, where Savoldo relocated before 1520. On June 15, 1524 he signed a contract for an altarpiece for the church of San Domenico in Pesaro (now in the Brera, Milan). In 1527, he completed a St. Hieronymus for the Brescian family Averoldi, probably the one at National Gallery of London. From the 1530s dates a Nativity at the National Gallery in Washington DC, which seems influenced by the lambent contemporary, Correggio painting on the same topic. In 1533 Savoldo painted a Madonna with Four Saints in the church of Santa Maria in Organo, while in 1537-1538 he executed the altarpiece for the main altar of Santa Croce, Brescia.






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