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ART WORKS INDEX
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ARTISTS INDEX
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Johann anton ramboux
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German, 1790 - 1866
German painter, draughtsman and museum curator. He was taught drawing by Jean-Henri Gilson (1741-1809), before he went to Paris for further training in the studio of Jacques-Louis David. In 1812 he returned to Trier, painting portraits until 1815, when he spent a year at the Akademie der Bildenden K?nste in Munich. In 1816 he went to Rome, where he was part of the Nazarene circle without becoming a member of the Lukasbr?der. Close association with these artists, notably Peter Cornelius, Carl Philipp Fohr and Julius Schnorr von Carolsfeld, had a more lasting influence on Ramboux's artistic development than his earlier studies with David
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Johann Anton Eismann
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(1604-1698) was an Austrian painter.
Eismann was born in Salzburg, and was active in Verona and Venice. He painted primarily harbor and some battle genre scenes. He died in Venice in 1698.
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Job Adriaenszoon Berckheyde
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(27 January 1630 - 10 June 1698) was a Dutch artist of the 17th century, active in Haarlem, Amsterdam, and The Hague.
Job Berckheyde was born in Haarlem and was the older brother of the painter Gerrit who he later taught to paint. He was apprenticed on 2 November 1644 to Jacob Willemszoon de Wet, and his master's influence is apparent in his first dated canvas, "Christ Preaching to the Children" (1661), one of his few biblical scenes. On 10 June 1653 he repaid a loan from the Haarlem Guild of Saint Luke. From 1656-1660 the two brothers made an extended trip along the Rhine to Germany, stopping off at Cologne, Bonn, Mannheim and finally Heidelberg, following the example of their fellow guild member Vincent van der Vinne. The brothers worked in Heidelberg for Charles I Louis, Elector Palatine (with Job producing portraits and hunting scenes, and receiving a gold chain from the Elector in reward) but were ultimately unable to adapt to court life and so returned to Haarlem, where they shared a house and perhaps a studio. He became a member of the Haarlem rederijkersgilde 'De Wijngaardranken' in 1666-1682. He is registered in Amsterdam 1682-1688, where he became a member of the Guild of St Luke there in 1685-1688.Berckheyde was buried in Haarlem.
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Jean-Auguste-Dominique Ingres
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1780-1867
French painter. He was the last grand champion of the French classical tradition of history painting. He was traditionally presented as the opposing force to Delacroix in the early 19th-century confrontation of Neo-classicism and Romanticism, but subsequent assessment has shown the degree to which Ingres, like Neo-classicism, is a manifestation of the Romantic spirit permeating the age. The chronology of Ingres's work is complicated by his obsessive perfectionism, which resulted in multiple versions of a subject and revisions of the original.
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Jean-Auguste Dominique Ingres
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French Neoclassical Painter, 1780-1867
was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy.
A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..
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Jean-Antoine Watteau
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1684-1721
Antoine Watteau Art Locations
He is best known for his invention of a new genre, the fete galante, a small easel painting in which elegant people are depicted in conversation or music-making in a secluded parkland setting (see under FETE CHAMPETRE). His particular originality lies in the generally restrained nature of the amorous exchanges of his characters, which are conveyed as much by glance as by gesture, and in his mingling of figures in contemporary dress with others in theatrical costume, thus blurring references to both time and place.
Watteau work was widely collected during his lifetime and influenced a number of other painters in the decades following his death, especially in France and England. His drawings were particularly admired. Documented facts about Watteau life are notoriously few, though several friends wrote about him after his death (see Champion). Of over two hundred paintings generally accepted as his work
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Jean-Achille Benouville
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(15 July 1815, Paris - 8 February 1891, Paris) was a French landscape painter of the academic painting school, known for his Italian landscapes. François-Leon Benouville was his younger brother.
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Jean Pierre Alexandre Antigna
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1817-1878
French
Jean Pierre Alexandre Antigna Gallery
French painter. He was taught at the school of drawing in Orl?ans by a local painter, Fran?ois Salmon (1781-1855). On 9 October 1837 he entered the Ecole des Beaux-Arts in Paris, first in the atelier of Sebastien Norblin de la Gourdaine (1796-1884). A year later he became a pupil of Paul Delaroche, from whom he acquired his understanding of dramatic composition.
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Jean Auguste Dominique Ingres
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J. A. D. Ingres (1780-1867)
was born in Montauban on August 29, 1780, the son of an unsuccessful sculptor and painter. French painter. He was the last grand champion of the French classical tradition of history painting. He was traditionally presented as the opposing force to Delacroix in the early 19th-century confrontation of Neo-classicism and Romanticism, but subsequent assessment has shown the degree to which Ingres, like Neo-classicism, is a manifestation of the Romantic spirit permeating the age. The chronology of Ingres's work is complicated by his obsessive perfectionism, which resulted in multiple versions of a subject and revisions of the original. For this reason, all works cited in this article are identified by catalogue.
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Jean antoine Watteau
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French Rococo Era Painter, 1684-1721
He is best known for his invention of a new genre, the f?te galante, a small easel painting in which elegant people are depicted in conversation or music-making in a secluded parkland setting (see under F?TE CHAMP?TRE). His particular originality lies in the generally restrained nature of the amorous exchanges of his characters, which are conveyed as much by glance as by gesture, and in his mingling of figures in contemporary dress with others in theatrical costume
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Jean Alaux
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(1785 - 2 March 1864) was a French history painter and Director of the French Academy in Rome from 1846-52.
Alaux was born in Bordeaux, the son of a painter, and the second of four brothers who were all themselves painters. he received his first lessons in art from his father, but went on to formal training with Pierre Lacour, then Pierre-Narcisse Guerin. He was admitted to the École des Beaux-Arts in Paris in 1807. From 1808 he entered works for the Prix de Rome but his energies were diverted when his elder brother, Jean-Francois Alaux (1783-1858), asked him to help with a large "neorama" (a type of Panorama) he was working on. Jean eventually won the Prix de Rome's first prize in 1815, with a work entitled "Briseis weeping over the body of Patroclus", a scene inspired by The Iliad of Homer. He subsequently became a pensionnaire at the French Academy in Rome from 1816 to 1820 (later becoming its director).
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JANSSENS, Abraham
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Flemish painter (b. 1575, Antwerpen, d. 1632, Antwerpen).
Flemish painter. He painted historical, religious and mythological subjects, often on a large scale, derived principally from antique sculpture and the art of Michelangelo and Raphael and, to a lesser degree, from certain contemporaries, including the Dutch late Mannerists and the Bolognese school. He was highly esteemed in Antwerp but suffered, then and subsequently, from the inevitable comparison with his contemporary and formidable rival Rubens
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Jankel Adler
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(July 26, 1895 ?C April 25, 1949) was a Polish painter and printmaker.
He was born as the seventh of ten children in Tuszyn, a suburb of Ł??dź. In 1912 he began training as an engraver with his uncle in Belgrade. He moved in 1914 to Germany where he lived for a time with his sister in Barmen. There he studied at the college of arts and crafts with professor Gustav Wiethecher.
From 1918-1919 he went back to Ł??dź, where he was joint founder of a group of avant-garde artists. In 1920 he returned briefly to Berlin; in 1921 he returned to Barmen, and in 1922 he moved to Desseldorf. There he became a teacher at the Academy of Arts, and became acquainted with Paul Klee, who influenced his work. A painting by Adler received a gold medal at the exhibition German art Desseldorf in 1928.
In 1929 and 1930 he went on study trips in Mallorca and other places in Spain. During the election campaign of July 1932 he published with a group of leftist artists and intellectuals an urgent appeal against the policy of the National Socialists and for communism. As a modern artist, and especially as a Jew, he faced persecution under Hitler's regime which took power in 1933.
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Jan Asselijn
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born: Netherlands; about 1615
died: Amsterdam, Netherlands ; 1652. Italianate syle painter with big vistas small people and romantic skys
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Jan Antonisz. van Ravesteyn
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(1572(?) - buried June 21, 1657) was a successful painter to the Dutch court in The Hague.
Van Ravensteyn was born in The Hague. It is unknown who taught him how to paint, but he was a follower of the Delft portrait painter Michiel Jansz van Mierevelt. Van Ravesteyn is mentioned there in the city archives 1597. From 1598 until his death he lived in the Hague, where in 1598 he became a member of the Guild of St. Luke of the Hague. In 1604 he married Anna Arentsz van Berendrecht and in the same year he was mentioned as a good painter by Karel van Mander (though his earliest dated works are from 1611). In 1608 he bought a house on the Molstraat and in 1628 he moved in the Molstraat. In 1640 his wife was buried and in the same year his daughter Marie married one of his pupils, the painter Adriaen Hanneman. In 1654 he moved to the Nobelstraat next to the house of his daughter. In 1656 he left the guild with a group of dissatified painter friends and was one of the founders of the Confrerie Pictura. He was a Catholic and his name occurs often as a witness in the records of the church in the Molstraat, such as for the marriage of his daughter Agnes in 1641 with Willem van Culemborgh. His portrait was painted by Sir Anthony van Dyck and he produced Schutterstuk works. His workshop produced many portraits for the royal house of Nassau and he competed with Miereveld for several commissions.
Van Ravesteyn was in turn, the teacher of Dirck Abrahamsz., Leendert Barthouts, Johannes Harmensz. Borsman, Aelbert Dircksz. Coeppier, Pieter Craen, Jacob Dirksz. van den Enden, Fransise de Goltz, Adriaen Hanneman, Barent Jansz., Thomas Ouwater, Clement Ram, Jan Rassenbourch, Frederick Sonnius, Dirck Verlaer, Jan Pous Voet and Pauwels Willemsz.
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Jan Adam Kruseman
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Petrus Augustus de Genestet (P.A. de Genestet) (Amsterdam, November 21, 1829 - Rozendaal, July 2, 1861) was a Dutch poet and a theologian.
Petrus Augustus de Genestet lost both of his parents at a very young age; after that he lived with his uncle, the Dutch painter Jan Adam Kruseman. He studied at the Amsterdamse Atheneum and the Seminarium der Remonstrantse Broederschap to become a preacher. He became minister in March of 1852 at the Genestetkerk (Genestetchurch) that was named after him, in Delft. In the same year he got married to Henriette Bienfait in Bloemendaal. They had two children. In 1859, he lost both his wife and oldest child died of tubercolosis, and because of his poor health he had to quit working as a minister. He moved to Amsterdam, but spent most of his summers in Bloemendaal. Two years later, in 1861, he died in Rozendaal.
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James clarke hook,r.a
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1819-1907
English painter. He studied with the portrait painter John Jackson and entered the Royal Academy Schools, London, in 1836, winning medals for drawing and historical painting. His Academy d?but was in 1839 with The Hard Task (untraced). In 1844 Hook was awarded a gold medal in the Houses of Parliament competition. In 1846 he won a Royal Academy travelling scholarship, enabling him to spend two years in Italy, where he was strongly influenced by the colouring of the Venetian painters. On his return his work included a series of subjects from Venetian history, including The Rescue of the Brides of Venice
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James Augustus Suydam
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(1819-1865) architect, lawyer, and artist; as an artist was considered one of the premier Luminism painters. He is widely known as an American landscape painter and one of the leading members of the Hudson River School.
James Augustus Suydam was descended from an old New York Dutch merchant family. He graduated from New York University (then the University of the City of New York), and began his career as a businessman but turned a significant portion of his energies to painting, studying under famed artist and portrait painter Minor C. Kellogg. At the age of thirty he was elected to the Century Association.
One of the "regulars" who gathered to paint at North Conway, New Hampshire, he exhibited Conway Meadows at the New York Athenaeum and Boston Athenaeum. He opened his studio at the noted 10th Street Studio Building, New York City, in 1858. The following year he was elected an honorary professional member in the prestigious National Academy of Design, which granted him full membership in 1861. He died suddenly in North Conway at the age of 46.
James Suydam was described by his friend, the accomplished artist Sanford Robinson Gifford as a "thoroughly educated and accomplished man. " In addition to his work as an artist, which he began only after working in law and architecture, he was widely read and well-versed in history, philosophy, and the sciences. His work as a landscape painter reflects this breadth of knowledge and reveals Suydam as a deeply spiritual individual. Using his familiarity with science, Suydam reduced nature to calm, clean, planar forms, and then distorted proportional relations so that God's creations loomed superior over the work of man.
The National Academy has most of his works such as Paradise Rocks (1865), and the Taft family's Taft Museum also holds works. The Taft also has a podcast website for this artist.
A painting of Gifford's from 1859 which Suydam, according to a report, "donated to the [National] academy in 1865," became the subject of a deaccession controversy at the Academy in late 2008.
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James Archer
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1823-1904
British
James Archer (1823-1904) was a portrait-painter. He was born in Edinburgh, Scotland. His best-known work includes children and people in costume as its subjects becoming the first Victorian painter to do children's portraits in period costume. He studied at the Trustee's Academy in Edinburgh under Sir William Allan. At Archer painted chalk portraits, but in 1849 he exhibited his first historical picture 'The Last Supper' at the Royal Scottish Academy. His work after that mostly consisted of scenes taken from literature or legends that were popular at the time, such as Shakespeare and King Arthur. In about 1859 he began to paint a series of Arthurian subjects, including 'La Morte d'Arthur' and 'Sir Lancelot and Queen Guinevere'. James Archer died in 1904 in Haslemere in Surrey, England, survived by his son and three daughters from his marriage to Jane Clerk.
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James Abbott Mcneill Whistler
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American Tonalist Painter and Printmaker, 1834-1903, He was an American-born, British-based artist. Averse to sentimentality and moral allusion in painting, he was a leading proponent of the credo "art for art's sake". His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail.
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Jakob Alt
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1789-1872
Austrian
Jakob Wassermann was born on March 10, 1873, in Furth, the son of a Jewish merchant. After a childhood with many restrictions, he began his career as an office clerk, in Munich and then in Freiburg. In 1898 he moved to Vienna and eventually established himself as a writer. Derivative and imitative, Wassermanns novels showed from the outset a strong dependence upon Fyodor Dostoevsky - particularly in his fondness for the psychological probing of criminals and social outcasts - as well as the influence of the master of the romantic horror and detective story, E. T. A. Hoffmann.
Wassermanns first significant work is Die Juden von Zirndorf (1897, The Jews of Zirndorf), in which his deep knowledge of his own community in F??rth and Nuremberg stands him in good stead. As in many of his other works, Wassermanns preoccupation with innocence and redemption is here interleaved with a somewhat crass depiction of depravity and superstition. Der Moloch (1902) pays tribute to the contemporary literary cult of the great city (here Vienna), seen as an all-devouring monster of sin and perversion. Caspar Hauser (1908) is probably the authors best novel; the book, based on fact, deals with the case of the mute youth who appeared one day in 1828 on the streets of Nuremberg. Resemblances to Dostoevskys The Idiot may also be noted in this tale of the rejection and contamination of innate purity by corrupt society.
After Caspar Hauser Wassermanns novels and short stories become increasingly preoccupied with bizarre and perverse anecdotes and intrigue, often initially drawn from biography or the newspapers. Das Gansemannchen (1915; The Goose Man) illuminates the problem involved in simultaneous cohabitation with two wives. Christian Wahnschaffe (1919) exploits the theme of the rich mans son who rejects the world to turn toward Buddhism. Der Fall Maurizius (1928, The Mauritius Case) is a type of detective novel made colorful by excursions into hypnosis but also weighed down by a tedious mass of psychological dissection. Like Honor?? de Balzac, whom he imitated, Wassermann introduces the same characters into different novels; thus Etzel Andergast (1931) is a sequel to The Mauritius Case, and its hero, Joseph Kerkhoven, reappears in Joseph Kerkhovens dritte Existenz (1934, Joseph Kerkhovens Third Existence).
Wassermann is a somewhat uneven and labored writer, and he cannot in any sense be considered a stylist. His novels are often marred by diffuseness and miasmic obscurity. At the same time his extensive output is of considerable historical interest and illuminates rather well the consequences of marriage between the new depth psychology and the popular novel of sensation and crime. He died on Jan. 1, 1934, in Alt-Aussee.
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Jacques-Laurent Agasse
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1767-1849
Swiss
Jacques-Laurent Agasse Galleries
(b Geneva, 24 March 1767; d London, 27 Dec 1849). English painter of Swiss birth. Born into a wealthy and politically influential Huguenot family, Agasse spent his early childhood at the country estate of Cravin, where he may have developed the interest in animals and natural history that was to guide his later career as an artist in England. Agasse trained first at the Ecole du Colibri in Geneva and subsequently in Paris under Jacques-Louis David (beginning in 1787) and possibly under Horace Vernet. His early artistic output consisted chiefly of unpretentious silhouette cut-outs in the style of Jean-Daniel Huber. At this time he also undertook a serious study of dissection and veterinary science.
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jacques d agar
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Jacob d'Agar, född 1642 i Paris som Jacques d'Agar, död 1715 i Köpenhamn, var en fransk porträttmålare.
D'Agar var elev till Ferdinand Vouet. 1675 blev han ledamot av konstakademien i Paris; men efter det nantesiska ediktets upphävande 1685, i egenskap av reformert och därigenom utesluten och tvungen att gå i landsflykt, begav han sig över England till Köpenhamn, där han av Kristian V utnämndes till hovmålare. Mycket anlitad av hovet undanträngde han med sitt franska maner det dittills i Danmark härskande holländska porträttmåleriet. Ett av hans många porträtt av Kristian V finnes på Gripsholm.
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Jacopo Amigoni
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1685-1752
Italian Jacopo Amigoni Galleries
He was born in Naples or Venice. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi.
Starting in 1717, he is documented as working in Bavaria in the Castle of Nymphenburg (1719); in the castle of Schleissheim (1725-1729); and in the Benedictine abbey of Ottobeuren. He returned to Venice in 1726. His Arraignment of Paris hangs in the Villa Pisani at Stra. From 1730 to 1739 he worked in England, in Pown House, Moor Park and in the Theatre of Covent Garden. From there, he helped convince Canaletto to travel to England by telling him of the ample patronage available.
From his travel to Paris in 1736, he met the celebrated castrato named Farinelli. Later in Madrid, he was to paint a self-portrait with the singer and entourage. He also encountered the painting of François Lemoine and Boucher.
In 1739 he returned to Italy, perhaps to Naples and surely to Montecassino, in whose Abbey existed two canvases (destroyed during World War II). Until 1747, he travelled to Venice to paint for Sigismund Streit, for the Casa Savoia and other buildings of the city. In 1747 he left Italy and established himself in Madrid. There he became court painter to Ferdinand VI of Spain and director of the Royal Academy of Saint Fernando. He died in Madrid.
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Jacob Abels
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(1803 - 1866) was a Dutch painter.
He was born in Amsterdam in 1803, and was instructed in art by Jan van Ravenswaay, the animal painter. In 1826 he visited Germany, and on his return settled at the Hague. He distinguished himself especially in painting moonlight landscapes. The Museum at Haarlem has works by him. Abels died at Abcoude in 1866.
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J. Alden Weir
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(August 30, 1852 - December 8, 1919) was an American impressionist painter and member of the Cos Cob Art Colony near Greenwich, Connecticut. Weir was also one of the founding members of "The Ten", a loosely-allied group of American artists dissatisfied with professional art organizations, who banded together in 1898 to exhibit their works as a stylistically unified group.
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J B Armand Guillaumin
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1841-1927
Born Jean-Baptiste Armand Guillaumin in Paris, France, he worked at his uncle's lingerie shop while attending evening drawing lessons. He also worked for a French government railway before studying at the Academie Suisse in 1861. There, he met Paul C??zanne and Camille Pissarro with whom maintained lifelong friendships. While he never achieved the stature of these two, his influence on their work was significant. C??zanne attempted his first etching based on Guillaumin paintings of barges on the River Seine.
Guillaumin exhibited at the Salon des Refus??s in 1863 and later became a friend of Vincent van Gogh whose brother, Theo sold some of his works.
Noted for his intense colors, major museums around the world display Guillaumin's art. He is best remembered for his landscapes of Paris, the Creuse departement, and the area around Les Adrets-de-l'Esterel near the Mediterraneran coast in the Provence-Alpes-Cote d'Azur region of France.
Armand Guillaumin died in 1927 in Orly, Val-de-Marne just south of Paris.
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Ivan Argunov
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Russian Rococo Era Painter , 1727/1729-1802
Russian painter and teacher. He came from a family of serfs, belonging to the Counts Sheremetev, that produced several painters and architects. In about 1746-7 he was a pupil of Georg Christoph Grooth (1716-49), who painted portraits of the Sheremetev family. With Grooth, Argunov worked on the decoration of the court church at Tsarskoye Selo (now Pushkin). A full-length icon of St John of Damascus (1749; Pushkin, Pal.-Mus.), in Rococo style, is distinguished by its secular, decorative character. The Dying Cleopatra (1750; Moscow, Tret'yakov Gal.) is typical of Rococo decorative painting of the mid-18th century, with its striking combination of light, soft tones. Argunov subsequently painted in a quite different style, mainly producing portraits, of which about 60 are known. Among the first of these are pendant portraits of Ivan Lobanov-Rostovsky and his wife (1750 and 1754; St Petersburg, Rus. Mus.), in which the sitters are idealized, as in ceremonial court portraits.
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Ivan Aivazovsky
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July 29, 1817 C May 5, 1900) was a Russian painter of Armenian descent, most famous for his seascapes, which constitute more than half of his paintings.Aivazovsky was born in the town of Feodosiya, Crimea, to a poor Armenian family. His parents family name was Aivazian. Some of artist's paintings bear a signature, in Armenian letters, "Hovhannes Aivazian" (Յովհաննէս Այվազեան). His talent as an artist earned him sponsorship and entry to the Simferopol gymnasium ??1 and later the St.Petersburg Academy of Arts, from which he graduated with the gold medal. Earning awards for his early landscapes and seascapes, he went on to paint a series of portraits of Crimean coastal towns before traveling throughout Europe. In later life, his paintings of naval scenes earned him a longstanding commission from the Russian Navy.
In 1845, Aivazovsky went to Istanbul upon the invitation of Sultan Abdelmecid, a city he was to travel to eight times between 1845-1890.
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Isenbrandt, Adriaen
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Flemish Northern Renaissance Painter, ca.1500-1551
South Netherlandish painter. He became a master in the Bruges Guild of St Luke in 1510, at which time the records specify that he was a 'stranger' and childless. Shortly afterwards he married Maria Grandeel, who bore him one child (d 1512). After his wife's death in 1537, Isenbrandt married Clementine de Haerne, with whom he had three daughters. One further daughter was born through an extra-marital relationship with the innkeeper Katelijne van Brandenburch. According to contemporary sources, Isenbrandt was famous and well-to-do. He held important posts in the Bruges Guild of Sculptors and Saddlemakers, serving as deacon nine times between 1518 and 1538 and as governor twice (1526-7 and 1537-8).
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Ion Andreescu
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n. 15 februarie 1850, Bucuresti . 22 octombrie 1882, Bucuresti
He was born in Bucharest into a merchant family. In 1869 he entered Theodor Aman Fine Arts School.
By 1872 he was an instructor of drawing and calligraphy at the Bishop School in Buzau. In 1873 he left the Bishop School for the Tudor Vladimirescu Communal Secondary School, also in Buzau. Then, in 1875 he left the Communal Secondary School for Buzau Craftsmanship School.
Influenced by Nicolae Grigorescu, he left Romania for Paris to further his education. In Paris, he began painting at Barbizon. His work was exhibited with the works of better known painters such as Manet, Monet and Renoir.
In 1881 he returned to Romania, ill with tuberculosis. His death followed shortly in 1882.
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HOLBEIN, Ambrosius
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German Northern Renaissance Painter, 1494-ca.1519
Painter, draughtsman and designer of woodcuts, son of Hans Holbein. In the drawing of Ambrosius and Hans Holbein the Younger (1511; Berlin, Kupferstichkab.) by their father, Hans's age is given as 14, and although that of Ambrosius cannot be read clearly, he appears to have been the elder brother. In 1514 he was probably working near the Bodensee, and a Virgin and Child (Basle, Kstmus.), with the coat of arms of Johann von Botzheim, Canon of Konstanz Cathedral (c. 1480-1535), appears to be his work. In 1515 he was working as a journeyman to the painter Thomas Schmid (c. 1480-c. 1550-60) on the decoration of the abbot's Festsaal in the Benedictine St Georgkloster at Stein-am-Rhein, which included allegorical figures of women, one of which, Death with a Female Lute-player (in situ), is signed AH. Also in 1515 he joined his brother Hans in Basle, where together they decorated with marginal drawings (1515-16) the copy of Erasmus's Praise of Folly (Basle, Kstmus.) belonging to the schoolmaster Myconius (Oswald Geissh?sler; d 1552); the distinction between the hands of the two brothers can be made only on stylistic grounds. They also painted a school sign for Myconius, each apparently working on a different side. On 25 July 1516 Ambrosius was recorded staying in the house of the painter Hans Herbst, in whose workshop he may have been employed. On 14 February 1517 he was enrolled in the Basle painters' guild, and on 5 June 1518 he became a citizen of the city. Numerous woodcut designs executed for Basle printers from 1517 onwards and signed with Ambrosius Holbein's initials survive, most of which are set in architectural frameworks inspired by the Italian Renaissance,
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Hoca Ali Riza
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(1858 - 1939) was a Turkish painter.
Portrait of Hoca Ali Riza
Kizkulesi (Leander Tower), painting by Hoca Ali RizaBorn in Uskudar, Istanbul. Painted many landscapes of Istanbul and especially Uskudar. Attended Kuleli Military High School and then the Military Academy. There he studied under Osman Nuri Pasha, Seleyman Seyyid and Monsieur Gues, and graduated in 1884. From 1909 to 1912 he served as President of the Society of Ottoman Painters.
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Hiroshige, Ando
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Japanese Ukiyo-e Printmaker, 1797-1858
Japanese painter and printmaker. He was one of the greatest and most prolific masters of the full-colour landscape print and one of the last great ukiyoe ('pictures of the floating world') print designers
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