Swedish Realist Painter, 1853-1919
Swedish painter, illustrator and printmaker. He came from a poor family and studied (1866-76) at the Konstakademi in Stockholm, supporting himself throughout this period. From 1871 to 1878 he contributed illustrations to the comic journal Kaspar and the Ny illustrerad tidning. From 1875, for several decades, he was a prolific book illustrator, his most renowned work in this field being his drawings for Föltskärns beröttelser ('The Barber-surgeon's tales'; pubd 1883-4) by Zacharius Topelius, and the Rococo-inspired watercolours for the Samlade skaldeförsök ('Collected attempts at poetry'; pubd 1884) by the 18th-century Swedish author Anna Maria Lenngren. Related Paintings of Carl Larsson :. | mannekiner | falugarden-garden fran falun | detaljstudie till gratulation | bolla | interior with Cactus |
Related Artists:Edmund Blair Leighton
Leighton was the son of the artist Charles Blair Leighton. He was educated at University College School, before becoming a student at the Royal Academy Schools. He married Katherine Nash in 1885 and they went on to have a son and daughter. He exhibited annually at the Royal Academy from 1878 to 1920.
Leighton was a fastidious craftsman, producing highly-finished, decorative pictures. It would appear that he left no diaries, and though he exhibited at the Royal Academy for over forty years, he was never an Academician or an Associate.Juan Fernandez de Navarrete
was a Spanish Mannerist painter, born at Logroño. An illness in infancy deprived Navarrete of his hearing, but at a very early age he began to express his wants by sketching objects with a piece of charcoal. He received his first instructions in art from Fray Vicente de Santo Domingo, a Hieronymite monk at Estella, and also with Becerra. He visited Naples, Rome, Florence and Milan. Pellegrino Tibaldi met him in Rome in 1550. According to most accounts he was for a considerable time the pupil and assistant of Titian at Venice. In 1568 Philip II of Spain summoned him to Madrid with the title of king's painter and a salary, and employed him to execute pictures for the Escorial. During the 1560s and 1570s the huge monastery-palace of El Escorial was still under construction and Philip II was experiencing difficulties in finding good artists for the many large paintings required to decorate it. Titian was very old, and died in 1576, and Tintoretto, Veronese and Anthonis Mor all refused to come to Spain. Philip had to rely on the lesser talent of Navarrete, whose gravedad y decoro ("seriousness and decorum") the king approved. For eleven years until his death Navarrete worked largely on El Escorial. The most celebrated of the works he produced there are a "Nativity" (in which, as in the well-known work on the same subject by Correggio, the light emanates from the infant Saviour), a "Baptism of Christ" (now Prado), and "Abraham Receiving the Three Angels" (one of his last works, dated 1576). Garofalo
Italian painter. Active mainly in Ferrara and the district around the Po delta, he was one of the most outstanding figures in Emilian classicism during the first half of the 16th century. In 1497 Garofalo father paid Boccaccio Boccaccino to teach his son the rudiments of painting. Garofalo first works were directly influenced by the Cremonese painter, to whom they were formerly even attributed. They consist of a series of small paintings depicting the Virgin and Child. The example in the Ca d Oro in Venice must have been Garofalo first painting and reveals not only the lessons learned from Boccaccino, but also signs of the influence of Domenico Panetti (c. 1460-before 1513), traditionally recorded as his first master. Another Virgin and Child (Assisi, Perkins priv. col.) shows signs of the early influence of Lorenzo Costa the elder, while the example in the Nationalmuseum, Copenhagen, shows a similarity with the early works of his contemporary, Lodovico Mazzolino. A particularly important project in Ferrara during the earliest years of the 16th century, involving numerous highly skilled artists, was the fresco decoration of the oratory of the Concezione. The frescoes (Ferrara, Pin. N.) represent a significant development in the city art. Garofalo hand has been identified in the Presentation in the Temple, in which he reveals a familiarity not only with local art, but also with the high points of Bolognese classicism, whose greatest exponents were Francesco Francia and Lorenzo Costa the elder. Around 1505, Garofalo works show a close familiarity with artistic developments in Bologna, in particular the mature style of Costa and the decoration in 1505-6, by Francesco Francia, Costa, Aspertini and others, of the oratory of S Cecilia in S Giacomo Maggiore. Garofalo Virgin Enthroned between SS Martin and Rosalia (Florence, Uffizi), created for Codigoro Cathedral, should be seen within this context, whereas the small altarpiece for the Arcivescovado, Ferrara, although executed at the same time, shows early, if faint, signs of the influence of Venetian painting of the period.