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 :. | The roses of Heliogabalus | Caracalla Sir Lawrence Alma | Tarquinius Superbus Sir Lawrence Alma Tadema | Pompeian Scene or The Siesta | Saturnalia |
Related Artists:Johann Baptist Seele
Germany (1774 -1814 )Jacopo Robusti Tintoretto
Italian Tintoretto Galleries
The real name of Tintoretto was Jacopo Robusti, but he is better known by his nickname, meaning the "little dyer, " his father having been a silk dyer. The artist was born in Venice and lived there all his life. Even though his painting is distinguished by great daring, he seems to have led a rather retired life, concerned only with his work and the well-being of his family. His daughter Marietta and his sons Domenico and Marco also became painters, and Domenico eventually took over the direction of Tintoretto's large workshop, turning out reliable but un-inspired pictures in the manner of his father. Some of them are, on occasion, mistaken for works of the elder Tintoretto.
Tintoretto appears to have studied with Bonifazio Veronese or Paris Bordone, but his true master, as of all the great Venetian painters in his succession, was Titian. Tintoretto's work by no means merely reflects the manner of Titian. Instead he builds on Titian's art and brings into play an imagination so fiery and quick that he creates an effect of restlessness which is quite opposed to the staid and majestic certainty of Titian's statements. If Tintoretto's pictures at first sight often astonish by their melodrama, they almost inevitably reveal, at closer observation, a focal point celebrating the wonders of silence and peace. The sensation of this ultimate gentleness, after the first riotous impact, is particularly touching and in essence not different from what we find (although brought about by very different means) in the pictures of Titian and Paolo Veronese.
Tintoretto was primarily a figure painter and delighted in showing his figures in daring foreshortening and expansive poses. His master in this aspect of his art was Michelangelo. Tintoretto is supposed to have inscribed on the wall of his studio the motto: "The drawing of Michelangelo and the color of Titian." Unlike Michelangelo, however, Tintoretto worked and drew very quickly, using only lights and shadows in the modeling of his forms, so that his figures look as if they had gained their plasticity by a kind of magic. In the rendering of large compositions he is reported to have used as models small figures which he made of wax and placed or hung in boxes so cleverly illuminated that the conditions of light and shade in the picture he was painting would be the same as those in the room in which it was to be hung.Wallerant Vaillant
Wallerant Vaillant, (Lille 30 May 1623 - Amsterdam 28 August 1677), was a painter of the Dutch Golden Age and one of the first artists to use the mezzotint technique, which he probably helped to develop.
Wallerant Vaillant was the oldest of five brothers, who all became successful painters.
Jacques (1625 - 1691) traveled to Italy where he joined the Bentvueghels in Rome with the nickname Leeuwrik, and settled later in Berlin.
Jan (1627 - 1668+) was an engraver considered to be a member of the school of Frankenthal and later became a merchant in Frankfurt.
Bernard (1632 - 1698) accompanied Wallerant on all of his travels, and settled later in Rotterdam, where he became deacon of the Wallonian Church.
Andreas (1655 - 1693), the youngest, became an engraver in Paris, and died in Berlin visiting his brother Jacques.
It is said Wallerant was a student of Erasmus Quellinus II (1607 - 1678) in Antwerp. He moved with his parents in 1643 to Amsterdam. In 1647 he lived in Middelburg, but in 1649 he was back in Amsterdam. In 1658 he traveled with his brother to Frankfurt and Heidelberg. He helped invent the Mezzotint technique (schraapkunst, or zwartekunst) with Prince Rupert of the Rhine when he was his tutor performing experiments in etching techniques. In 1659 he went to Paris with Philibert de Gramont where he stayed five years.