Laura Theresa Alma-Tadema
(1852 C 15 August 1909 in Hindhead) was from 1871 the second wife of the painter Lawrence Alma-Tadema and a painter in her own right.
A daughter of Dr George Napoleon Epps (who was brother of Dr John Epps), her two sisters were also painters (Emily studied under John Brett, a Pre-Raphaelite, and Ellen under Ford Madox Brown), whilst Edmund Gosse and Rowland Hill were her brothers-in-law. It was at Madox Brown's home that Alma-Tadema first met her in December 1869, when she was aged 17 and he 33. (His first wife had died in May that year.) He fell in love at first sight,and so it was partly her presence in London (and partly the fact that only in England had his work consistently sold) that influenced him into relocating in England rather than elsewhere when forced to leave the continent by the outbreak of the Franco Prussian War in July 1870. Arriving in London at the beginning of September 1870 with his small daughters and sister Artje, Alma-Tadema wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871 and, though this second marriage proved childless, it also proved enduring and happy, with Laura acting as stepmother to her husband's children by his first marriage.
The Paris Salon in 1873 gave Laura her first success in painting, and five years later, at the Paris International Exhibition, she was one of only two English women artists exhibited. Related Paintings of Laura Theresa Alma-Tadema :. | Pompeian Scene or The Siesta | The Women of Amphissa | Women of Amfiss | The Triumph of Titus | Roses of Heliogabalus |
Related Artists:BACKER, Jacob Adriaensz.
Dutch Baroque Era Painter, 1608-1651
Backer was born in Harlingen, but his family moved soon (in 1611) to Amsterdam. Between 1627 and 1633 he and Govert Flinck were pupils of Lambert Jacobsz in Leeuwarden. In 1633 he returned to Amsterdam, where he remained until his death.
His extreme quickness in painting portraits has been particularly noticed, and it is said by his Amsterdam colleague Joachim von Sandrart that he completely finished, in one day, the half length portrait of a lady in full dress, even so early, that she was able to return the same day to Haarlem. Besides being an important portrait painter - some 70 portraits can be attributed to him with certainty, among them the 1642 Company of Cornelis de Graeff voor de Nieuwe Doelen in Amsterdam, on the same wall as Rembrandt's Night Watch - Backer was an excellent painter of religious and mythological paintings. He was especially interested in pastoral subjects, themes from contemporary history, like the huge Crowning of Mirtillo from 1641 in the Brukenthal collection in Sibiu (250 x 250 cm.). In fact, Backer was a leading artist in Amsterdam until his premature death in 1651.LONGHI, Pietro
Italian Rococo Era Painter, ca.1702-1785
Painter and draughtsman. His father, Alessandro Falca, encouraged his natural talent for drawing, and he studied under Antonio Balestra for 'several years', according to his son, Alessandro Longhi. Balestra probably took Pietro to Bologna and recommended him to Giuseppe Maria Crespi. No documents exist on Longhi until 1732, the year he married, and some doubt has been expressed about his study with Crespi. There is no trace of Crespi's influence in Longhi's altarpiece for the parish church of S Pellegrino in Bologna, St Pellegrino Condemned to Death, installed in 1732; Crespi's style is an intimate one, however, and would have been inappropriate for such a large altarpiece. One of Longhi's first independent works, the St Pellegrino altarpiece recalls his Venetian origins and training in its broken brushwork and colour glazes. In another early work, the Adoration of the Magi (Venice, Scuola Grande S Giovanni Evangelista), documented in 1733 as at S Maria Materdomini, Venice, the subject-matter lends itself to a more domestic treatment, and Crespi's influence is evident. Both these works contain passages anticipating Longhi's subsequent development as a genre painter; in each picture a boy or young man, perhaps a self-portrait, gazes out at the spectator, unconcerned with events in the painting.Fabbiao Fabbi
Italian, 1861 - 1946