Öl auf dem Segeltuch,das echte Aroma von alten Meistern

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kulturen
      ivar johnssons byst av georg karlin, karv i uppsyn som originalet., bares upp au en tung granitplatta med orden forntid framtid. det var det motto karlin helt i nutidsanda satt for sitt museum samlingarna sklle lara om det forgangna inspirera till det kommande.
kulturen ovan Germany oil painting artist


ovan
new20/kulturen-643242.jpg
Gemälde IDENTIFIZIERUNG::  58749 		  mk263 over salens dorrar ar overstyckn malade pa vav i en lantlig rokokstil.

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kulturen
      ivar johnssons byst av georg karlin, karv i uppsyn som originalet., bares upp au en tung granitplatta med orden forntid framtid. det var det motto karlin helt i nutidsanda satt for sitt museum samlingarna sklle lara om det forgangna inspirera till det kommande.
kulturen ovan Germany oil painting artist


ovan
new20/kulturen-295954.jpg
Gemälde IDENTIFIZIERUNG::  58753 		  mk263 sa;ens vavspanda vaggar ar ma lade med motiv av typisk empirekaraktar med draperingar,

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william r clark
      1829-1912
william r clark ovan Germany oil painting artist


ovan
new21/william r clark-648389.jpg
Gemälde IDENTIFIZIERUNG::  59171 		  mk266 en av de forsta engelska kolniserna i nordamer ika fohn white, har gjort den har teckningen av indianby i virginia omkring 1585.

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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]
bruno liljefors ovan Germany oil painting artist


ovan
new22/bruno liljefors-337696.jpg
Gemälde IDENTIFIZIERUNG::  65070 		  thorburne efter j. wolf tjaderlek. efter lord lilford, 1885-98 se

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Eugene Jansson
      Swedish Painter, 1862-1915
Eugene Jansson ovan Germany oil painting artist


ovan
new23/Eugene Jansson-693338.jpg
Gemälde IDENTIFIZIERUNG::  70413 		  1899 150x135cm se

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Nächste Gemälde