1718--93 Swedish painter and pastellist, active in Germany and France. He trained with Lars Ehrenbill (1697-1747), a draughtsman employed by the Admiralty in Malmö, and in Stockholm under Georg Engelhardt Schräder (1684-1750), a portrait painter working in the tradition of Hyacinthe Rigaud and Nicolas de Largillierre. In 1741 Roslin moved to Göteborg, but the following year he returned to Malmö, where he executed devotional works for the parish church of Hasslöv, Halland, and began establishing himself as a portrait painter.   Related Paintings of Alexander Roslin :. | carl fredrik adelcrantz | jean-baptiste eugene dumaugin, lakare | Dame mit Schleier | furstinnan natalia petrovna galitsyn | Portrait of Johan Pasch, Surveyor to the Royal Household and artist |
Related Artists:
Giovanni Toscani
Italian Painter, ca.1370-1430
Johannes Hubertus Leonardus de Haas
(25 March 1832 - 4 August 1908) was a Dutch animal and landscape painter, and a peripheral figure of the Hague School. Born at Hedel, De Haas spend his youth in Amsterdam where he got his first art education at evening-classes at the Koninklijke Academie. Consequently he moved to Haarlem where he was apprenticed to the artist Pieter Frederik van Os. During his stay in Haarlem he befriended Paul Gabriël and Hendrik Dirk Kruseman Van Elten who were also studying with Van Os. In 1853, together with his two friends, De Haas decided to go to Oosterbeek. Here they came into contact with the influential landscape painter Johannes Warnardus Bilders and the group of painters which had gathered around him, many of whom would later be part of the Hague School. De Haas also met his future wife in Oosterbeek, Bilders' daughter, Caroline. In 1855 he received good reviews for his pictures that were exhibited in Paris from the noted art critic Jean Baptiste Gustave Planche. In 1857 De Haas first went to Brussels, where he became friends with Willem Roelofs. De Haas frequently returned to the Netherlands and Oosterbeek for inspiration and Caroline. From 1860 his friend Gabriël also lived in Brussels, and De Haas often painted cattle in the landscapes of both Roelofs and Gabriel, fitting in perfectly with both their styles. In 1860 he won the gold medal at the exhibition of Utrecht. From 1861 until 1869 De Haas is permanently settled in Brussels, painting mainly on the coasts of Flanders and Picardie in northern France. He married Caroline Bilders in 1862, and in 1864 they are briefly joined by her brother, the promising painter Gerard Bilders. In 1865 Caroline dies at the age of 24 of tuberculosis, leaving him with a young son. During his stay in Brussels De Haas is instrumental in passing on the style of the Barbizon school to the painters at Oosterbeek.
PALMA GIOVANE
Italian Mannerist Painter, ca.1548-1628 Son of Antonio Palma. A greater artist than his father, his vast oeuvre represents the impact of central Italian Mannerism but principally of Jacopo Tintoretto on Venetian painting in the generation after Titian, Tintoretto and Paolo Veronese. He died in his late seventies and was occasionally referred to as 'il vecchio', but since the 17th century he has been known as 'il giovane' to distinguish him from his great uncle. He was virtually self-taught, apart from a presumed acquaintance with his father's workshop. In 1567 he came to the attention of Guidobaldo II della Rovere, Duke of Urbino, who was to support him for four years. A possible knowledge of Federico Barocci's art at the court of Urbino left little trace on his surviving early works. The Duke sent him to Rome for study, where he spent a few months apprenticed to an unknown artist. There his sympathy was with Taddeo Zuccaro and Federico Zuccaro, who influenced the graphic style of the drawing of Matteo da Lecce (1568; New York, Pierpont Morgan Lib.), his first dated work. His Roman sojourn, which lasted until c. 1573-4, made a direct impact on some of his Venetian works and indirectly made him receptive to Tintoretto's style. A tendency in Rome in the 1560s to retreat from the most artificial and decorative aspects of Mannerism in favour of naturalism was also to affect Palma's attitude to style in his mature works