19th&20th century
Fredrik Marinus Kruseman was a Dutch painter who specialized in Romantic style landscapes. He received his first drawing lessons from Jan Reekers and attended the Vocational School in Haarlem from 1832 to 1833. That year, he began to study painting with Nicolaas Johannes Roosenboom and, in 1835, moved to the Gooi, where he took advanced studies with Jan van Ravenswaay. He also studied briefly with the landscape painter, Barend Cornelis Koekkoek. In his output of approximately 300 to 350 paintings, only three still-lifes are known and the rest are landscapes. He also made a large number of drawings.
Carl Spitzweg was a German romanticist painter, especially of genre subjects. He is considered to be one of the most important artists of the Biedermeier era.
Heinrich Wilhelm Trübner was a German realist painter of the circle of Wilhelm Leibl.
Joseph Wenglein was a German painter who is often referred to as one of the last significant landscape painters of the 19th century Munich school.
Parallel to his law studies Joseph Wenglein studied at the Academy of Fine Arts in Munich. He then switched entirely to art and became a pupil of the landscape painter Johann Gottfried Steffan. On his recommendation, Wenglein sometime later became a pupil of the painter Adolf Heinrich Lier, whose colouristic tendencies, calculated to express profound moods, particularly appealed to him.
Josef Wenglein knew how to reproduce the change of daylight, especially in spring and autumn, with a fine sense of the slightest atmospheric fluctuations and to vary the grey pleasant tone of the Bavarian plateau in all its nuances masterfully.
Josef Wopfner was a German landscape painter who worked in the second half of the 19th and early 20th centuries in the Impressionist style. He was a master of landscape and genre painting.
Hermann von Kaulbach was a German painter and illustrator, son of Wilhelm von Kaulbach.
Hermann von Kaulbach studied painting under Karl Piloti. His paintings are mostly brilliant technically and are particularly interesting for their excellent detailing, which, however, sometimes hurt the interest of the content.
In 1886 he was appointed professor of the history of painting at the Munich Academy of Fine Arts.
