1774-1825 Peale was born in Philadelphia as the son and first child of Rachel and Charles Willson Peale, a famous portraitist. Lived in Philadelphia, on a home at the corner of 3rd and Lombard. Married Martha (Patty) McGlathery at the age of 20. First first professional exhibition was in 1795 at the age of 21. Artist. Born Raphaelle Peale in Annapolis, Maryland on February 17, 1774, the fifth child, though eldest surviving, of Charles Willson Peale and his first wife Rachel Brewer. As with all the Peale children, Raphael was trained by his father as an artist. Early in his career, the pair collaborated on portraits. On some commissions, Raphael painted miniatures while his brother, Rembrandt, painted full size portraits. In 1792, he made a trip to South America in order to collect specimens for the Peale's Museum. In 1797, with his brother Rembrandt, he traveled to Charleston, South Carolina, where they attempted to establish another museum. The plan fell through, however, and Raphael returned to painting miniatures. He married Martha McGlathery at about that same time, and with her had eight children. For about two years beginning in 1803, Raphael toured Virginia with the ??physiognotrace,' a profile making machine, with which he was briefly successful. In August 1808, he was hospitalized with delirium tremens, exacerbated by severe gout. By 1813, he was unable to walk without crutches. After the downturn in his health, in an era when most artists considered still life a subject worthy only of amateurs, he devoted himself almost exclusively to still life painting. It is for these works he is best known. Raphael Peale is today considered the founder of the American Still Life school. His work was on frequent exhibit at the Pennsylvania Academy of the Fine Arts between 1814 and 1818. After reportedly indulging in a night of heavy drinking, his health destroyed, Raphael died on March 3, 1825 at age 51 at his home in Philadelphia. Peale's tightly grouped still lifes are often permeated with a delicate melancholy akin to that which characterized the life of the artist; he was an alcoholic who suffered the effects of arsenic and mercury poisoning caused by his work as a taxidermist in his father's museum. His spare, essential style may have been influenced by the Spanish still lifes he studied in Mexico and by the works of Juan Sanchez Cotan, exhibited at the Pennsylvania Academy in 1818.  Related Paintings of Raphaelle Peale :. | Still Life with Cake | Still Life with Peaches | Still Life fdhgdfghf | Still Life with Peaches | George Washington |
Related Artists:
Laurent Pecheux
1729-1821
Antoine Sallaert
(1585-1650) was a Flemish Baroque painter. According to Houbraken his work survived in Brussels, where he lived and died. He was sorry he could not find more data on this artist. According to the RKD he was registered in the Brussels Guild of Saint Luke as a master in 1613 and used the monograms ASall f and AS entwined.
bruno liljefors
Bruno Andreas Liljefors (1860-1939) was a Swedish artist, the most important and probably the most influential wildlife painter of the late nineteenth and early twentieth century.[1] He also drew some sequential picture stories, making him one of the early Swedish comic creators. Liljefors is held in high esteem by painters of wildlife and is acknowledged as an influence, for example, by American wildlife artist Bob Kuhn.[1] All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.[1] However, he never exaggerated the ferocity of the predator or the pathos of the prey, and his pictures are devoid of sentimentality. The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in his Mallards, Evening of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname Panterfällen.[1] Bruno was fascinated by the patterns to be found in nature, and he often made art out of the camouflage patterns of animals and birds. He particularly loved painting capercaillies against woodland, and his most successful painting of this subject is the largescale Capercaillie Lek, 1888, in which he captures the atmosphere of the forest at dawn. He was also influenced by Japanese art, for example in his Goldfinches of the late 1880s.[1] During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life, as he left his wife, Anna, and took up with her younger sister, Signe, and was often short of money.[1] This darker quality in his paintings gradually began to attract interest and he had paintings exhibited at the Paris Salon. He amassed a collection of animals to act as his living models. Ernst Malmberg recalled: The animals seemed to have an instinctive trust and actual attraction to him...There in his animal enclosure, we saw his inevitable power over its many residents??foxes, badgers, hares, squirrels, weasels, an eagle, eagle owl, hawk, capercaillie and black game.[1] The greatness of Liljefors lay in his ability to show animals in their environment.[1] Sometimes he achieved this through hunting and observation of the living animal, and sometimes he used dead animals: for example his Hawk and Black Game, painted in the winter of 1883-4, was based on dead specimens, but he also used his memory of the flocks of black grouse in the meadows around a cottage he once lived in at Ehrentuna, near Uppsala. He wrote: The hawk model??a young one??I killed myself. Everything was painted out of doors as was usually done in those days. It was a great deal of work trying to position the dead hawk and the grouse among the bushes that I bent in such a way as to make it seem lively, although the whole thing was in actuality a still life.[1]