Ulrika Fredrika Pasch, född 10 juli 1735 i Stockholm, död 2 april 1796, var en svensk konstnär. Hon var dotter till konstnären Lorens Pasch d.ä. och Anna Helena Beckamn, syster till konstnären Lorens Pasch d.y. och brorsdotter till konstnären Johan Pasch. Ulrika Pasch började måla 1756 men hade tidigt tillsammans med sin bror fått undervisning av fadern. Hon blev hushållerska åt en släkting, men målade på fritiden. Under en tioårsperiod försörjde hon sin pappa och syster som professionell porträttmålare i Stockholm innan hennes bror återvände från sina studier utomlands 1766, då de började arbeta tillsammans. Deras samarbete beskrivs som harmoniskt och de valdes båda in i konstakademien 1773. Hon var inte den första kvinnan som valdes in i akademin, men hon var den första kvinnliga yrkeskonstnären som blev vald. Hon ska ha målat detaljerna på broderns tavlor, som klädesdetaljer och liknande. Ulrika hade en framgångsrik karriär och målade ofta porträtt av kungafamiljen och hovet. Hon ansökte dock upprepade gånger förgäves för en pension. Systern Helena Lovisa (1744-96) hushållade åt sina syskon. Trots att det sägs att hon själv var en ödmjuk person som aldrig framhävde sitt arbete, så är hon en av få kända självförsörjande kvinnliga yrkeskonstnärer i Skandinavien före artonhundratalet.  Related Paintings of ulrica fredrica pasch :. | ulrica lovisaaria sparre | gustaf adolf reuterholm | okand dam | samuel af ugglas | ulrika eleonora d y |
Related Artists:
BELLEGAMBE, Jean
Flemish painter (c. 1480 - c. 1535) South Netherlandish painter and designer. His father, George Bellegambe, a cabinetmaker and musician, was a prominent citizen of Douai. Jean is first mentioned in a document of 1504, when he is referred to as a master painter, a burgher and married. His teacher is unknown, but his work bears some imprint of the art of Jan Provoost, who inherited Simon Marmion's studio. However, Bellegambe might equally have been apprenticed in Bruges or Brussels (possibly in the atelier of the Master of the Legend of St Mary Magdalen, for example), or even in Antwerp. The calm and serenity of Bellegambe's compositions, his treatment of landscape, his lightness of technique, his pursuit of clear, soft colours and delicate harmonies all indicate links with the work of Gerard David and Quinten Metsys. In the 17th century Bellegambe was known as 'the Master of Colours'.
John Opie
English Painter, 1761-1807,English painter. He was born in a tin-mining district, where his father was a mine carpenter. He had a natural talent for drawing and was taken up by an itinerant doctor, John Wolcot (the poet Peter Pindar, 1738-1819), who was an amateur artist and had a number of well-connected friends. Wolcot taught Opie the rudiments of drawing and painting, providing engravings for him to copy and gaining him access to country-house collections. Opie's early portraits, such as Dolly Pentreath (1777; St Michael's Mount, Cornwall, Lord St Levan priv. col.), are the work of a competent provincial painter and owe much to his study of engravings after portraits by Rembrandt. His attempts at chiaroscuro and impasto in Rembrandt's manner gave his pictures a maturity that clearly startled contemporary audiences expecting to see works by an untutored artist. Thus in 1780, when a picture by him was exhibited in London at the Society of Artists with the description 'a Boy's Head, an Instance of Genius, not having ever seen a picture', Opie was hailed as 'the Cornish Wonder'. When he himself arrived in London, where he was promoted by Wolcot and his paintings were exhibited at the Royal Academy in 1781 and 1782, he was seen as a phenomenon, impressing even Joshua Reynolds, who is reputed to have remarked that Opie was 'like Caravaggio and Velasquez in one'.
Koller, Rudolf
Swiss Painter, 1828-1905 Swiss painter. He studied in Zurich under such artists as Johann Jakob Ulrich before going to D?sseldorf in 1846 to work with Carl Ferdinand Sohn. In 1847 he was in Paris where he shared a studio with Arnold B?cklin. Two years later he went to Munich where he worked with a group of artists called the 'Schweizer', whose leader was Johann Gottfried Steffan. He returned to Zurich in 1851 and painted mainly pastoral landscapes (e.g. Waterfall near Zurich, c. 1851; Zurich, Graph. Samml. Eidgen?ss. Tech. Hochsch.) evoking prevailing romantic sensibilities. His later paintings combine realist subject-matter with a carefully arranged and executed classical composition. He frequently chose rustic farm scenes containing animals, whom he believed represented a dignified and pure image of nature that was to be treated with respect. He was often considered to be the 19th-century counterpart to Paulus Potter whose paintings of animals were emulated at the time. His works are similar to those of Rosa Bonheur, as seen in Cows in the Roman Countryside (1869; Berne, Kstmus.). His most celebrated painting is the St Gotthard Mailcoach (1873; Zurich, Ksthaus), which depicts a coach at full speed attempting to stop suddenly for a herd of cattle obstructing the narrow road. After 1870, problems with his eyesight forced him to paint less, yet even late in life he was still capable of producing such lyrical paintings as Horses at the Drinking Fountain (1890; Le Locle, Mus. B.-A.).