Franz Xaver Winterhalter
Franz Xaver Winterhalter's Oil Paintings
Franz Xaver Winterhalter Museum
20 April 1805 - 8 July 1873. German painter.

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Franz Xaver Winterhalter
Portrait of Prince Henri, Duke of Aumale
c. 1843(1843) Medium oil on canvas cjr
ID: 91695

Franz Xaver Winterhalter Portrait of Prince Henri, Duke of Aumale
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Franz Xaver Winterhalter Portrait of Prince Henri, Duke of Aumale


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Franz Xaver Winterhalter

German 1805-1873 Franz Xaver Winterhalter Galleries German painter and lithographer. He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Scheler (1785-1852) in Freiburg im Breisgau and went to Munich in 1823, sponsored by the industrialist Baron Eichtal. In 1825 he began a course of study at the Akademie and was granted a stipend by Ludwig I, Grand Duke of Baden. The theoretical approach to art of the Akademie under the direction of Peter Cornelius was unfamiliar to him, as in Freiburg he had been required to paint in a popular style. He found the stimulus for his future development in the studio of Joseph Stieler, a portrait painter who was much in demand and who derived inspiration from French painting. Winterhalter became his collaborator in 1825. From Stieler he learnt to make the heads of figures emerge from shadow and to use light in the modelling of faces. He moved to Karlsruhe in 1830 with his brother Hermann Winterhalter (1808-92), who had also trained with Scheler and had followed him to Munich.  Related Paintings of Franz Xaver Winterhalter :. | Il Dolce Farniente | Portrait of Sophia Alexandrovna Radziwill | Julia Louisa Bosville, Lady Middleton | Portrait of the Queen | The Empress Eugenie |
Related Artists:
Luigi Premazzi
(Milan, 1814 - Istanbul, Turkey, 1891) was an Italian painter. Premazzi attended the Brera Academy of Fine Arts and then the private school run by Giovanni Migliara. His early watercolours, based on the works of his master, were produced for the lithographic industry. His oeuvre is characterised by a repertoire of urban views produced in accordance with the dictates of perspective painting. While most of these are set in Milan, other Italian cities were also featured in later years. His smooth, precise painting also shows the influence of his contemporary Luigi Bisi in its descriptive focus on architectural detail. He presented work regularly at the exhibitions of the Societe Promotrice di Belle Arti in Turin from 1842 to 1848 as well as those of the Brera Academy. Having moved to Saint Petersburg around 1850, he became a teacher at the Imperial School of Fine Arts there in 1861. Frequent stays in the Caucasus and the Middle East provided new subjects for his paintings, which he continued to send to Italian exhibitions, where they aroused wonder and curiosity.
Giacomo Guardi
(1764-1835) was an Italian painter from Venice. The son of famous veduta painter Francesco Guardi, he continued his father's line of work, though without the same level of renown. The majority of his works are quite small views of only minor artistic interest, more akin to postcards than to his father's grand scenes, but he produced several paintings showcasing a notable level of artistic skill as well. Evaluating his legacy is somewhat complicated due to the frequency with which paintings are misattributed to him.
Jacob van Loo
(1614 - 26 November 1670) was a Flemish painter who is considered one of the Dutch Masters of the 17th Century. Van Loo is known for his conversational groupings, his use of a subtle color palette and his nudes. He was the founder of the Van Loo family of painters. Van Loo was born in Sluis, Zeeland, in the Dutch Republic. Some sources have spe,culated that his father, Jan van Loo, may have been a notary, but more often his father is described as a painter from whom Jacob van Loo received his early training. Little is known of Van Loo's early history due to the destruction of the city archives in Sluis during World War II. His early influences included Thomas de Keyser and Jacob Adriaensz Backer. In 1642, van Loo moved to Amsterdam, where his contemporaries included Rembrandt, Frans Hals, and Bartholomeus van der Helst. In 1643 he married the sister of the painter, Martinus Lengele. The couple had six children. They lived on Rozengracht in the Jordaan district of Amsterdam. Eglon van der Neer became one of his pupils. In 1660, Van Loo fled the city after fatally stabbing someone during an altercation at an inn. He was sentenced to death in absentia which forever prevented his return to Holland. Van Loo settled in Paris, where he was admitted to the Academie de peinture et de sculpture. He died in Paris in 1670. Van Loo's work was done in the Baroque style that had originated in Rome. The Baroque style was popular throughout Europe during this period. Van Loo was a major influence on Johannes Vermeer as can be seen in Vermeer's painting, Diana and Her Companions. Van Loo painted many portraits. Among his subjects were Johan Huydecoper van Maarssenveen; his sister, Leonara Huydecoper, who was married to Jan J. Hinlopen; Joan Ortt, who was later involved with Antoinette Bourignon; and his wife. Jacob van Loo's son, Louis Abraham van Loo, was also a painter, as were his grandsons, Jean-Baptiste van Loo and Charles-Andra van Loo.






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