Graphic artists Naturalism
Jacques Barraband was a French zoological and botanical illustrator, renowned for his lifelike renderings of tropical birds. His pictures were based on mounted specimens and his illustration was considered the most accurate ones made during the early 1800s.
Paul Dom, born Paulus Ludovicus Carolus Dom, was a Belgian and Dutch painter and illustrator.
He studied at the Royal Academy of Fine Arts in Antwerp, lived in Belgium and the Netherlands, was granted Dutch citizenship in 1936 and lived in The Hague for the rest of his life.
Paul Dom was a versatile artist. He dabbled in drawing and painting and painted portraits, cityscapes and sketches, and genre scenes. At the same time he was a political cartoonist and illustrated books. Between 1917 and 1956 Dom illustrated hundreds of books, mostly for children.
Heinrich Eberhard was a German modernist painter.
Eberhard studied at the Royal Academy of Fine Arts in Stuttgart, and was decisively influenced in his artistic development by the modernist pioneer Adolf Helzel (1853-1934). In 1920 he became a member of the Stuttgart "Üecht Group", which also included Willy Baumeister and Oskar Schlemmer, and was a member of the legendary Hölzelkreis.
Eberhard's oeuvre includes oil paintings, drawings, prints and stained glass windows and is characterized by a stylistic pluralism between expressive naturalism, cubist influences and abstraction.
During the Nazi "Degenerate Art" campaign in Germany in 1937, some of the artist's paintings were removed from galleries and destroyed, but in 1943 he was allowed to exhibit one canvas that met the tastes of the authorities. After the war, Eberhard continued to create with success, participating in exhibitions.
Alexander Eckener was a German painter and graphic artist. He received his initial artistic training and inspiration from Jacob Nöbbe, a local artist in Flensburg. With his support, Eckener was able to study at the Academy of Fine Arts, Munich, from 1888 to 1892. After graduating, he returned to his home town and became part of the Ekensund Artists' Colony. In 1899, he went to Stuttgart and was accepted by the State Academy of Fine Arts. There, he was a master student of Leopold Graf von Kalckreuth, who introduced him to the art of etching; another genre in which he became proficient. After 1908, he taught at that Academy himself and was named a Professor in 1912. He took on the position of Professor of lithography and woodcuts in 1925.
Georg Dionysius Ehret was a German botanist and entomologist known for his botanical illustrations.
Ehret's original art work may be found at the Natural History Museum in London, the Royal Botanic Gardens, Kew, The Royal Society, London, the Lindley Library at the Royal Horticultural Society, the Victoria and Albert Museum, at the University Library of Erlangen, the LuEsther T. Mertz Library of the New York Botanical Garden, and the Hunt Institute for Botanical Documentation in Pittsburgh, Pennsylvania.
Walton Ford is an American artist. He is known for his large-scale, highly detailed paintings that depict natural history subjects and explore the relationships between humans and animals.
Ford studied at the Rhode Island School of Design and later from Yale University. His work is inspired by the tradition of natural history painting, but he subverts this tradition by using his paintings to critique colonialism, environmental degradation, and the ways in which humans have interacted with the natural world.
Ford's paintings are highly detailed and often include multiple narratives within a single image. He uses a combination of watercolor, gouache, and ink to create his large-scale works, which can be several feet in height and width. His paintings are also highly stylized, featuring elements of graphic design and pop culture.
Ford has exhibited his work extensively, including at the Whitney Museum of American Art in New York, the Hamburger Bahnhof Museum in Berlin, and the Musée de la Chasse et de la Nature in Paris. His work is also held in the collections of several major museums, including the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, D.C.
Winslow Homer was an American landscape painter and printmaker, renowned for his mastery of marine subjects and considered a preeminent figure in 19th-century American art. Born in Boston, Massachusetts in 1836, Homer was largely self-taught, starting his career as a commercial illustrator before venturing into oil painting and watercolors.
Homer's art evolved significantly over his lifetime. During the American Civil War, he worked as a correspondent, creating sketches that conveyed both the immediacy and the human cost of the war. This experience deeply influenced his later work, particularly his powerful oil paintings depicting war and its aftermath. After the war, Homer's focus shifted towards scenes of nature and rural America, reflecting a national nostalgia for simpler times. His works from this period, such as "The Cotton Pickers" and "Snap the Whip," showcase his ability to capture everyday life with poignant realism and emotional depth.
Later in his career, Homer became renowned for his watercolors and seascapes, such as "Breezing Up (A Fair Wind)" and "The Gulf Stream," which are celebrated for their dynamic composition and vivid portrayal of human interaction with nature. His late seascapes, which often depicted the rugged coastlines of Maine, are particularly noted for their dramatic intensity and hint at modernist abstraction, capturing the formidable power and timeless beauty of the sea.
Homer's works are held in high regard and continue to be featured in major museums and galleries, providing inspiration and insight into the American experience of the 19th century.
For those interested in the works of Winslow Homer and the impact of his art, you can sign up for updates related to new product sales and auction events featuring his work. This will keep you informed on opportunities to engage more deeply with Homer's enduring legacy.
Hermann Metz, an esteemed painter and draftsman, played a pivotal role in the renowned Willingshausen Art Colony, fostering close bonds with artists like Carl Bantzer, Heinrich Giebel, and Wilhelm Thielmann. Born on March 21, 1865, in Kassel, Metz embarked on his artistic pursuit early on, attending art academies in Munich and Kassel. Although he initially leaned towards Naturalism, the influence of his fellow artists led him towards embracing Impressionism.
Metz's preferred mediums were oil paintings and drawings, often opting for sketches while outdoors, later transforming them into exquisitely nuanced artworks. His subjects primarily revolved around rural scenes, landscapes, and various places in Hessen, particularly Höchst and Willingshausen.
Notably, Metz's works bear a resemblance to the style of Paul Baum, a prominent German landscape painter. Today, his art gains increasing recognition, and you can find his masterpieces gracing the collections of several museums in Kassel and Marburg, as well as in private hands.
Intriguingly, Metz humorously coined the phrase, "Mit dem Malen versäumt man die beste Zeit" (Painting misses the best moments). His legacy as a distinguished representative of the Willingshausen Art Colony endures, captivating art enthusiasts and collectors alike.
Francisco Pacheco del Río, baptized on November 3, 1564, and passing away on November 27, 1644, was a distinguished Spanish painter. Renowned for his dual role as Diego Velázquez's teacher and father-in-law, Pacheco's influence extends beyond his familial ties, contributing significantly to the arts through his seminal textbook, "Art of Painting." This work remains a crucial resource for understanding 17th-century artistic practices in Spain. Often referred to as the "Vasari of Seville," Pacheco's insights into painting theories and reflections on his contemporaries have left an indelible mark on the history of art, despite criticisms of his conventional execution in painting.
Pacheco's early life was marked by an immersive education in art, learning from Luis Fernandez and drawing inspiration from Italian masters. His journey included a pivotal sojourn to Madrid and Toledo in 1611 to study the works of El Greco, which further enriched his artistic repertoire. Upon his return to Seville, Pacheco opened an art school, laying the groundwork for his future contributions to art education and theory.
His career was notably characterized by his position as the official censor for Seville's Inquisition, which influenced his academic approach to religious subjects. Despite this, his paintings, such as the Last Judgment and Martyrs of Granada, are celebrated for their monumental scale. Pacheco's most enduring legacy, however, may be his influence on Diego Velázquez, whom he mentored for six years. Velázquez's marriage to Pacheco's daughter Juana in 1618 further solidified their personal and professional bonds. Pacheco's "Arte de la pintura" not only provided invaluable biographical information on Spanish painters of his era but also laid down foundational theories on iconography, materials, and technique.
For those interested in exploring Francisco Pacheco del Río's works further, notable pieces can be found in prestigious collections, such as the Museo Nacional del Prado, enriching our understanding of his impact on the art world.
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Edmund Schaefer-Osterhold was a German graphic artist, painter and professor at art schools.
From 1897 to 1907, Schaefer-Osterhold trained at the art schools of Stuttgart and Munich and was a pupil of Friedrich von Keller at the Stuttgart Academy of Art and Carl Banzer in Dresden.
His earliest works, with their limited means of expression and delicate tonal colours, are among his most convincing creations from today's perspective. Around 1920 he created a series of eight woodcuts called Stories from the East. After the Second World War, Schäfer-Osterhold turned more to painting, and since then his formal language has focused mainly on religious themes and southern landscapes. In 1958 he designed the altar wall at the Church of the Saviour in Markwartstein.
