John William Waterhouse
John William Waterhouse's Oil Paintings
John William Waterhouse Museum
6 Apr 1849 - 10 Feb 1917. English Pre-Raphaelite painter.

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John William Waterhouse
Diogenes (mk41)

ID: 25638

John William Waterhouse Diogenes (mk41)
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John William Waterhouse Diogenes (mk41)


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John William Waterhouse

English Pre-Raphaelite Painter, 1849-1917 English painter. His father was a minor English painter working in Rome. Waterhouse entered the Royal Academy Schools in London in 1870. He exhibited at the Society of British Artists from 1872 and at the Royal Academy from 1874. From 1877 to the 1880s he regularly travelled abroad, particularly to Italy. In the early 1870s he had produced a few uncharacteristic Orientalist keepsake paintings, but most of his works in this period are scenes from ancient history or classical genre subjects, similar to the work of Lawrence Alma-Tadema (e.g. Consulting the Oracle, c. 1882; London, Tate). However, Waterhouse consistently painted on a larger scale than Alma-Tadema. His brushwork is bolder, his sunlight casts harsher shadows and his history paintings are more dramatic.  Related Paintings of John William Waterhouse :. | A Meraid (mk41) | Consulting the Oracle | Lady Violet Henderson | An Eastern Reminiscence (mk41) | The Lady of Shalott |
Related Artists:
DUPUYS, Pierre
French painter (b. 1610, Montfort l'Amaury, d. 1682, Paris).
Richard Caton Woodville
1856 - 1927 was an English artist and illustrator, who is best known for being one of the most prolific and effective painters of battle scenes in the late nineteenth, and early twentieth centuries. The son of American Richard Caton Woodville (The First), who was also a talented artist, Woodville studied at the Dusseldorf School under the great Prussian military artist Wilhelm Camphausen, and then Eduard von Gebhardt, before briefly studying in Russia and then Paris under Gerome. Woodville spent most of his career working for the Illustrated London News where he quickly developed a reputation as a talented reporter and writer, but was also published in Cornhill Magazine, Strand Magazine, and The Tatler. Richard Caton Woodville first experienced battle first-hand when he was sent by the Illustrated London News to report upon the Russo-Turkish War (1877 C 1878), and then again in the 1882 Anglo-Egyptian War where he made numerous sketches, and also obtained photographs of the trenches at Tel-e-Kebir for his friend and co-artist Alphonse-Marie-Adolphe de Neuville whom had been commissioned to paint a scene of the battle. In 1879 Woodville's Before Leuthen, Dec 3rd, 1757 was exhibited in the Royal Academy. It proved popular, and afterwards he began to regularly be exhibited in Burlington House, where 21 of his battle paintings were eventually shown. His most popular works there were ones that dealt with contemporary wars, such as the Second Anglo-Afghan War, Candahar [sic], and Maiwand, Saving the Guns (Walker Art Gallery), the Zulu War, and the First Boer War. His works from Egypt were exhibited at the Fine Art Society in 1883, where his painting The Moonlight Charge at Kassassin proved very popular. The following year he exhibited by Royal Command another painting he had done of the war in Egypt, entitled The Guards at Tel-e-Kebir (Royal Collection). He continued to paint scenes of battle, and few battles or wars that Great Britain fought during his life were not touched upon by him, including the Second Boer War, and World War I. Despite his precocious talent for capturing the dramatic moments of contemporary battles, Woodville also enjoyed recreating historical scenes in both oil, and watercolour. The Illustrated London News commissioned him to complete a commemorative special series recreating the most famous British Battles of history. He depicted The Charge of the Light Brigade (Royal Collection, Madrid) and The Charge of the 21st Lancers at Omdurman (Walker Art Gallery), Battle of Blenheim, Battle of Badajos and several Battle of Waterloo pictures. During World War I, Woodville was compelled to return to the depiction of current events, and three of his Great War works were displayed in the Royal Academy.
Tivadar Kosztka Csontvary
born 1853 - d. 1919) was a Hungarian painter. He was one of the first Hungarian painters to become well known in Europe. Csontvery was born on 5 July 1853 in Kisszeben, Seros County, Kingdom of Hungary (today Sabinov, Slovakia), and died 20 June 1919 in Budapest. His ancestors were Poles who settled down in Hungary. Although Csontvery was obsessed with his Magyar roots, he himself grew up speaking Slovak mixed with German. He was a pharmacist until his twenties. On a hot sunny afternoon, 13 October 1880, e when he was 27 years old e he experienced a mystic vision. He heard a voice saying "you will be the greatest sunway painter, greater than Raphael!" He took journeys around Europe, visited the galleries of the Vatican, then went home to collect money for his journeys working as an apothecary. From 1890 onwards he traveled around the world. He visited Paris, the Mediterraneum (Dalmatia, Italy, Greece), North Africa and the Middle East (Lebanon, Palestine, Egypt, Syria) and painted pictures. He painted his major works between 1903 and 1909. He had some exhibitions in Paris (1907) and Western Europe. Most of the critics in Western Europe recognized his abilities, art and congeniality, but in the Kingdom of Hungary during his life he was considered to be an eccentric crank for several reasons, e. g. for his vegetarianism, anti-alcoholism, anti-nicotinism, pacifism, his latent, but more and more apparent schizophrenia and his cloudy, prophetic writings and pamphlets about his life (Curriculum), genius (The Authority, The Genius) and religious philosophy (The Positivum). Even though later he was acclaimed, during his lifetime Csontvery's visionary, expressionistic style found little understanding. A loner by nature, the master's mental balance was upset by his efailuree impairing his creative power. Little did he know that some years after his death, an entire museum in Paris, Hungary, would be devoted to his paintings, and that worldwide appreciation of his works would be in constant ascendancy. Many painters, e.g. Picasso added a stone to Csontvery's cairn.






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