snow covered
Heinrich Bürkel was a German artist of the mid-nineteenth century. He is known as a painter and graphic artist, representative of the Biedermeier style.
Heinrich Bürkel specialized in genre and landscape paintings, especially winter landscapes. He often used Staffage and depicted animals. His work showed the influence of the old Dutch and Italian masters. Bürkel enjoyed great popularity, his paintings were actively acquired for private collections, including in America. The master painted about 1000 paintings and created about 6000 drawings.
John Greenleaf Whittier was an American poet, essayist, and member of the American Anti-Slavery Society.
Whittier devoted 30 years of his life to the fight against slavery. Only after the Civil War, already at a mature age, he was finally able to engage in his favorite pastime - poetry. Past his fascination with Burns, Whittier became an eloquent advocate of justice, tolerance, and liberal humanism. He has been called "America's finest religious poet" for the high spiritual and moral values he extolled, and many of his poems are still sung as church hymns.
Whittier also wrote about the region's past, about life in New England before industrialization. In late nineteenth-century America, Whittier was second only to Henry Wadsworth Longfellow in popularity. His most famous poem, "Bound by Snow," was published in 1866. Whittier was also a longtime editor of the New England Weekly Review.
Gijsbrecht Leytens was a Flemish landscape painter of the Early Baroque period. He was famous for his depiction of winter landscapes, which were considered his speciality and were characterised by a highly individualised style. He is considered one of the least studied Flemish painters of the Antwerp School.
Geisbrecht Leitens became a member of the Guild of Saint Luke in Antwerp in 1611. From that time he was entitled to open his own workshop in the city and train apprentices.
The master carefully observed winter nature and birds and developed an individual manner which distinguished him from the philosophical generalisations of Pieter Bruegel the elder or the cosy details and findings of Lucas van Falkenborgh. Trees in his paintings are usually depicted covered in snow, often oddly shaped. The branches of the denuded trees are replete with representations of various birds. The artist's creative style may have been influenced by paintings from the Dutch Mannerism period.
Émile Munier was a French academic painter, a pupil of William-Adolphe Bouguereau.
During the 1860s Émile Munier won three medals at the École Nationale Supérieure des Beaux-Arts, and in 1869 he exhibited at the Paris Salon.
Emile Meunier painted peasants and created paintings on mythological and religious themes; he also depicted animals, fishing scenes, landscapes and marinas. In many of his works he used his children as models.
Louis Apol, born Lodewijk Frederik Hendrik Apol, is a Dutch landscape painter.
Apol is considered one of the brightest representatives of the Hague School of painting. He specialized in winter landscapes.
Fernand Lantoine is a French painter and draughtsman, often associated with the Belgian School.
Without adhering to all the artistic innovations of his time, he constantly developed his painting technique.
This evolution is related to the deep need for renewal in European societies, highly civilised and industrialised but scarred by the horrors of war.
A close friend of Paul Signac, he moved from the neo-impressionist movement with divided brushstrokes and bright, almost fauvist tones, to a symbolist inspiration close to Henri Martin, before opting for a style marked by the pre-eminence of line and structure over colour.
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.