Flemish painter (b. ca. 1530, Leuven, d. 1597, Frankfurt/Main).   Related Paintings of VALKENBORCH, Lucas van :. | whalers entangled in flaw ice | Painting of J.C. Kapteyn at his desk | Seated Female Nude | rooftop | Portrait of Emperor Charles V sg |
Related Artists:
Robert Frederick Blum
Major figure painter and illustrator American , 1857-1903 was an American artist born in Cincinnati, Ohio, on the 9th of July 1857. He was employed for a time in a lithographic shop, and studied at the McMicken Art School of Design in Cincinnati, and at the Pennsylvania Academy of Fine Arts in Philadelphia, but he was practically self-taught, and early showed great and original talent. He settled in New York in 1879, and his first published sketches of Japanese jugglers appeared in St. Nicholas. His most important work is a large frieze in the Mendelssohn Music Hall, New York, Music and the Dance (1895). His pen-and-ink work for the Century Magazine attracted wide attention, as did his illustrations for Sir Edwin Arnold's Japonica. "Man before grilled entrance"In the country and art of Japan he had been interested for many years. A Daughter of Japan, drawn by Blum and W. J. Baer, was the cover of Scribner's Magazine for May 1893, and was one of the earliest pieces of color printing for an American magazine. In Scribner's for 1893 appeared also his Artist's Letters from Japan. He was an admirer of Fortuny, whose methods somewhat influenced his work. Blum's Venetian pictures, such as A Bright Day at Venice (1882), had lively charm and beauty. He died on the 8th of June 1903 in New York City.
Arnold Bocklin
Swiss 1827-1901 Arnold Bocklin Locations Arnold Bocklin was born on Oct. 16, 1827, in Basel. He attended the Dusseldorf Academy (1845-1847). At this time he painted scenes of the Swiss Alps, using light effects and dramatic views subjectively to project emotional moods into the landscape. In 1848 this romantic introspection gave way to plein air (open-air) objectivity after he was influenced by Camille Corot, Eugene Delacroix, and the painters of the Barbizon school while on a trip to Paris. But after the February and June revolutions Bocklin returned to Basel with a lasting hatred and disgust for contemporary France, and he resumed painting gloomy mountain scenes. In 1850 Bocklin found his mecca in Rome, and immediately his paintings were flooded by the warm Italian sunlight. He populated the lush southern vegetation, the bright light of the Roman Campagna, and the ancient ruins with lonely shepherds, cavorting nymphs, and lusty centaurs. These mythological figures rather than the landscapes became Bocklins primary concern, and he used such themes as Pan Pursuing Syrinx (1857) to express the polarities of life: warm sunshine contrasts with cool, moist shade, and the brightness of womans spirituality contrasts with mans dark sensuality. When Bocklin returned to Basel with his Italian wife, he completed the painting which brought him fame when the king of Bavaria purchased it in 1858: Pan among the Reeds, a depiction of the Greek phallic god with whom the artist identified. He taught at the Academy of Art in Weimar from 1860 to 1862, when he returned to Rome. Called to Basel in 1866, he painted the frescoes and modeled the grotesque masks for the facade of the Basel Museum. Bocklin resided in Florence from 1874 until 1885, and this was his most active period. He continued to explore the male-female antithesis and painted religious scenes, allegories of Natures powers, and moody studies of mans fate. He ceased working with oils and began experimenting with tempera and other media to obtain a pictorial surface free of brushstrokes. Bocklin spent the next 7 years mostly in Switzerland, with occasional trips to Italy; he devoted much of his energy to designing an airplane. Following a stroke in 1892, he returned to Italy, bought a villa in Fiesole, and died there on Jan. 16, 1901. Many of his late works depict nightmares of war, plague, and death.
Alden J Weir
1852-1919 Painter, printmaker and teacher, son of (1) Robert Walter Weir. His art education began in the studio of his father. There he and his half-brother (2) John Ferguson Weir acquired an appreciation for the Old Masters, particularly of the Italian Renaissance and of the 17th-century Dutch schools. While Weir pursued in his art a course very different from that of his father and half-brother, his personality as well as his artistic attitudes were shaped by them. In the winters of 1870-71 and 1871-2, he continued his studies at the National Academy of Design in New York, where his instructor was Lemuel Wilmarth (1835-1918).