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Church's paintings, more confident and on a grander scale than those of his contemporaries, uniquely captured the spirit of an optimistic American people who associated the landscape of the New World with manifest destiny. Art historian Barbara Novak wrote that Church was "a paradigm of the artist who becomes the public voice of a culture, summarizing its beliefs, embodying its ideas, and confirming its assumptions."
Olana State Historic Site is now owned and operated by the New York State Office of Parks, Recreation and Historic Preservation, Taconic Region, and with its curatorial work, visitor services, and external relations managed by The Olana Partnership, a private, non-profit organization. In 1999, just before the centenary of Church's death, The Olana Partnership established the Frederic Church Award to honor individuals and organizations who make extraordinary contributions to American art and culture.
Gallery
Notes
Sources
Avery, Kevin J. (1993). Church's Great Picture: The Heart of the Andes. Metropolitan Museum of Art. ISBN 978-9994925193.
Harvey, Eleanor Jones; Church, Frederic Edwin (2002). The Voyage of the Icebergs: Frederic Church's Arctic Masterpiece. Dallas Museum of Art. ISBN 9780300095364.
Howat, John K.; Church, Frederic Edwin (2005). Frederic Church. Yale University Press. ISBN 978-0300109887.
Huntington, David C. (1966). The Landscapes of Frederic Edwin Church: Vision of an American Era. George Braziller. LCCN 66-16675.
Kelly, Franklin (1985). Frederic Edwin Church and the North American Landscape, 1845–1860 (Thesis). ProQuest 303390102.
Kelly, Franklin (1988). Frederic Edwin Church and the National Landscape. Smithsonian Institution Press. ISBN 978-0-87474-592-4.
Kelly, Franklin (1989). Frederic Edwin Church. National Gallery of Art. ISBN 978-0874744583.
Wilmerding, John (1980). American Light: The Luminist Movement, 1850–1875. Washington: National Gallery of Art. ISBN 9780691002804.
External links
Media related to Frederic Edwin Church at Wikimedia Commons
Frederic Edwin Church works at National Gallery of Art
Timeline of Art History Metropolitan Museum of Art
The Olana Partnership
American Paradise: The World of the Hudson River School, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Church (see index)
Art and the empire city: New York, 1825–1861, an exhibition catalog from The Metropolitan Museum of Art (full PDF), which contains material on Church
Lyrics to the song "Olana" by Marc Cohn, about Church and the Olana estate, from Church's perspective. Archived July 25, 2021, at the Wayback Machine
Art Renewal.org
Frederic Edwin Church Gallery at MuseumSyndicate Archived August 28, 2021, at the Wayback Machine
Friedrich (Fritz) Bury (12 March 1763 – 18 May 1823) was a German artist born in Hanau. He studied first under his father Jean Jacques Bury, who was a goldsmith and professor in the Academy of Design in Hanau, and then with Johann Heinrich Wilhelm Tischbein. In 1780 he visited Düsseldorf, and two years later went to Rome; thence to Dresden, and finally settled in Berlin, where he was patronized by the Queen of Prussia. He painted historical pictures and portraits. A 'Cupid triumphant' by him is in the Hague Gallery.
Selected portraits
Other works
See also
List of German painters
References
Attribution:
This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). "Büri, Friedrich". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons.
Friedrich Herlin (c. 1425/30 – 1500) was a German painter. His earliest known work, depicting scenes from the Life of the Virgin, is dated 1459. A signature on an altarpiece in Nördlingen, dating it to 1462, identifies him as being from Rothenburg ob der Tauber, as do citizenship documents from 1467. Nevertheless, it is possible that he lived there for only a short time, and that his origins lie in Ulm, where a painter named Hans Herlin lived and worked from 1449 until 1468. Stylistically, he borrowed much from Rogier van der Weyden, indicating a great deal of familiarity with the art of the Netherlands and of Cologne. The sculpture attached to the altarpiece of 1462 in the St. George church, though officially listed as by the so-called "Master of Nördlingen", has been tentatively ascribed to Nicolaus Gerhaert, which if true would indicate extensive contacts to the highest artistic circles of the era.
Little else is known of Herlin, save that he died in Nördlingen in 1500.
Gallery
References
Friedrich Herlin at Answers.com
Fyodor Stepanovich Rokotov (Fedor Rokotov) (Russian: Фёдор Степа́нович Ро́котов; 1736 – December 24, 1808) was a Russian painter who specialized in portraits.
Fyodor Rokotov was born into a family of peasant serfs, belonging to the Repnins. Much in his biography is obscure. He studied art in Saint Petersburg Academy of Arts. After buying back his freedom at the end of the 1750s he became established as a fashionable painter.
In 1765, Rokotov was elected an Academician, but he did not work as a professor in the Academy long, because it interfered with his painting. He returned to Moscow in 1765, where he lived for the rest of his life. He had a lot of commissions there, becoming one of the best portrait painters of his time.
Among his best-known portraits are Portrait of Alexandra Struyskaya (1772), sometimes called the Russian Mona Lisa and admittedly the most celebrated piece of the 18th-century Russian painting; Portrait of Countess Elisabeth Santi (1785), and Lady in a Pink Dress (1770s, illustration, right).
Rokotov avoided painting formal portraits with much adornment and decoration. Instead he was one of the first Russian painters advancing a psychological portrait with attention to optical and atmospheric effects.
Selected works
See also
List of Russian artists
References
V.N. Alexandrov History of Russian Art, Minsk, 2004, ISBN 985-13-1199-5 (In Russian)
External links
Online gallery of Rokotov paintings
Gabriël Metsu (1629–1667) was a Dutch painter of history paintings, still lifes, portraits, and genre works. He was "a highly eclectic artist, who did not adhere to a consistent style, technique, or one type of subject for long periods". Only 14 of his 133 works are dated.
Life
Gabriel Metsu was the son of Jacques Metsu (c. 1588 – March 1629), a tapestry worker and painter originally from Hainault, who lived most of his days at Leiden, and Jacquemijntje Garniers (c. 1590 – 8 September 1651), the widow of a painter with three children of her own. It is not known when and where Gabriel was baptized; most likely in a Catholic hidden church but the baptismal records did not survive. Gabriel grew up on Lange Mare and his stepfather, a skipper, must have supported his education, because his mother was a poor midwife.
In 1648 Metsu was registered among the first members of the painters' guild at Leiden, but in 1650 he ceased to subscribe. Metsu was possibly trained in Utrecht by the Catholic painters Nicolaus Knüpfer and Jan Weenix.
Around 1655 Metsu moved to Amsterdam; he lived in an alley on Prinsengracht, next to a brewery and near his relatives, the children of the sugar refiner Philips Metsu. In 1657 he got into an argument with a neighbor. (It was alleged that Metsu left a brothel at six in the morning.) Gabriel moved to a house on the canal side, where a daily vegetable market was held. In 1658 he married Isabella de Wolff, whose father was a potter and mother the painter Maria de Grebber.
At the onset of the 1660s Metsu turned for inspiration to the art of the "fijnschilders" from his native Leiden. Metsu was responding to the market of Dou's paintings, who sold his paintings all over for exorbitant prices. Metsu may have also influenced Pieter de Hooch.
For a while Metsu trained Michiel van Musscher and Joost van Geel. Metsu died at the age of 38 and was buried in the Nieuwe Kerk. Three bells were tolled; a habit in use with Dutch Catholics at that time. His widow left for Enkhuizen, to live with her mother. Isabella was buried in the Zuiderkerk in 1718.
Style and works
According to Arnold Houbraken, Metsu was taught by Gerard Dou, though prior to about 1653 his influence is not apparent. One of his earliest pictures is The Rich Man and Lazarus at the Strasbourg Museum, painted under the influence of Jan Steen. Under the influence of Rembrandt he produced the Woman taken in Adultery, (1653) a large picture in the Louvre. To the same period belong the Dismissal of Hagar, in the Museum De Lakenhal, Leiden, and the Widow's Mite at the Schwerin Gallery.
Around 1653–1654, Metsu began placing his figures in domestic interiors and specialized in genre scenes on small panels. Old people were among Metsu's favorite thematic borrowings from Dou during his first years in Amsterdam.
Metsu often painted young (single) women who either fed pets, sold goods at market (fruit, vegetables, fish, poultry, or meat), or were grocery-shopping themselves for these provisions. Another significant painting from this period was The Vegetable Market in Amsterdam, in the Louvre, for which the Encyclopædia Britannica Eleventh Edition praised ", the characteristic movement and action of the dramatis personae, the selection of faces, the expression and the gesture, and the texture of the things depicted".
Houbraken ends his biography with the comment that he was "of impeccable reputation", but he may have meant this ironically. Often, the subject of a Metsu painting was based on a popular emblem from an emblem book. This can give the painting a double meaning, such as in The Poultry seller, 1662, showing an old man offering a rooster to a young girl in a symbolic pose that is based on a lewd engraving by Gillis van Breen (1595–1622), with the same scene. The accompanying verse is:
"Hoe duur dees vogel vogelaer?" "hy is vercocht" "waer?"
How much for the bird, birdman? It's sold. Where?
"aen een waerdinne clear, die ick vogel tgeheele Jaer."
To an innkeeper, to whom I sell birds/that I have sex with the whole year through.
The Sick Child in Rijksmuseum from c. 1664 "prompts the thought that Metsu strongly admired Vermeer's work. [The latter's Woman with a Water Jug was sold as a Metsu in 1877.] It also provides us with a hint about what he thought was lacking in Vermeer's paintings: emotional involvement of the viewer". This is in compliance with other painting, The Doctor's Visit, where there is emotional involvement in the painting of a tragic event involving the ill woman.
One of the finest collection of Metsu paintings was owned by Gerrit Braamcamp in the 18th century; he owned eight of them, including "man writing" and "woman reading a letter".
Carpets
At least thirteen of his paintings show carpets and he probably used the same model. He included several fine examples of minutely depicted floral and cloud band carpets in his works and even a silk oriental rug, as well as so-called "lotto" rugs which he for some reason, in contrast to his meticulous rendering of the floral carpets, depicted only in a very sketchy fashion.
Two paintings of the Hinlopen family
Around the year 1661, Metsu won the patronage of the Amsterdam cloth merchant Jan J. Hinlopen and painted his family more than once in a fashionable surrounding.
There is still some confusion about two paintings by Metsu — the Portrait of the family Hinlopen, now in the Gemäldegalerie, which for a few decades was referred to as The Family of burgomaster Gillis Valckenier, and Visit to the Nursery — in the Metropolitan Museum. There is some general resemblance. The latter belonged to Jan J. Hinlopen.
Visit to the Nursery
In 1662 Jan Vos published a poem about this painting. It might depict the Hinlopen family, but as the sitters have not been identified this painting it is more a genre work than a portrait. In 1721 Arnold Houbraken recalled the latter painting as the largest and finest work by Metsu he had ever seen. Franits calls it one of his most intriguing images. What makes this painting especially interesting is its provenance. The provenance is well-known, except for between the years 1666 and 1706. In 1680, after the burial of his brother and guardian Jacob J. Hinlopen the paintings were divided in lots and given to his daughters but none of the paintings or painters is mentioned.
The scene is set in an imaginary room of unrealistically large proportions. The father gestures deferentially while a maid dutifully fetches a chair for this esteemed visitor. The chimney resembles the one in the "schepenzaal" of former Amsterdam townhall, also painted by Pieter de Hooch. There is a seascape on the wall and Persian carpets on the table and the floor. The carpet on the table is divided into compartments, which are partly vermilion red and partly purple red, and shield-shaped. The dark blue color of the borders on the carpet are relatively unusual. The dog in the painting could be a Bolognese dog. Hung in the reception room of Hinlopen's home, the Visit to the Nursery thus alluded to his powerful role in local politics.
Works
Gabriël Metsu's paintings
Notes