EARLY IMPRESSIONIST PAINTER

Johan Barthold Jongkind

From passionforpaintings.com

Jongkind (3 June 1819 – 9 February 1891) was born in the town of Lattrop in the Overijssel province of the Netherlands near the border with Germany. Trained at the art academy in The Hague, in 1846 he moved to the Montmartre quarter of Paris, France where he studied under Eugène Isabey and Francois-Edouard Picot. Two years later, the Paris Salon accepted his work for its exhibition, and he received acclaim from critic Charles Baudelaire and later on from Emile Zola.

Jongkind  was to experience little success, however, and he suffered bouts of depression complicated by alcoholism. He returned to live in Rotterdam in 1855, and remained there until 1860. Back in Paris in 1861 he rented a studio on the rue de Chevreuse in Montparnasse where some of his paintings began to show glimpses of the Impressionist style to come. In 1862 he met in Normandy with some of his artist friends, such as Alfred Sisley and Eugene Boudin, the young Claude Monet who later referred to Jongkind as "...a quiet man with such a talent that is beyond words." The following year Jongkind exhibited at the first Salon des Refusés. Despite several successes, in another of his down periods the Impressionist group did not accept his work for their first exhibition in 1874.

(Wikipedia, the free encyclopedia)

Strand von Ste. Adresse

Current loc Louvre Museum

Source The Yorck Project

From en.wikipedia.org

Seascape with ponies on the beach

From fineartamerica.com

‘Canal près de Rotterdam’

From artnet.com

Mills near Rotterdam

Current loc Rijksmuseum Amsterdam

Source rijksmuseum.nl

From commons.wikimedia.org

View of the Seine

From fondationcustodia.fr

Jongkind completed his training in Eugène Isabey’s studio. He often painted cityscapes, including this early view of the Seine, which can be dated in 1853. His works from this initial period are often panoramic and almost always show bridges and the quay or the bank of the river. In this view the Pavillon de Flore of the Louvre is depicted on the left with the as yet undeveloped bank in the foreground, with its boats, figures and horses with their striking red blinkers.

(fondationcustodia.fr)

‘Sortie du port Honfleur Sun’

Entrance to the Port of Honfleur Windmill

Windmill near the water

Images from artmight.com

Skaters at Dordrecht

View of Rouen

Images from irushonok.livejournal.com

Fecamp

On the Beach at Sainte-Adresse

Images from paintingdb.com

Jongkind never found true success during his lifetime. His situation became so dire in 1860 that a group of his friends joined forces for a benefit art sale to help the ailing Jongkind. Some believe that the near-starvation conditions of his life as well as his lack of success caused the artist to become mentally ill around this period. Fourcaud, who visited Jongkind frequently, said of the artist, when “he began to speak about his art his lucidity returned intact. His remarks on the state of the atmosphere and the luminous life of things often struck me by the inattendu, by their truth, and sometimes by the curious way they were expressed.” Fourcaud remembers the artist showing an immense portfolio of watercolors and how carelessly the artist handled his own work. When cautioned about ruining the pieces, Jongkind replied, “Bah! Nature gave me that, and if I want it she will give me ten times more.”

Jongkind continually studied the sun’s rays and the play of reflections as the light traveled across the landscape during the day. Though his works were not a commercial success during his lifetime, his study of the atmosphere and light influenced a number of more well-known impressionist artists of his time including, Claude Monet, Edouard Manet, Tryon, Diaz and Rousseau. Monet referred to him as a man of profound genius. He traveled frequently between Holland and France. He painted nature as he saw it in the form of watercolor sketches and paint his paintings from those sketches. His paintings, all signed and dated, provide a virtual itinerary of his travels. Based upon his paintings, it appears he was in Normandy in 1865 and in Holland in 1868.

(thefamousartists.com)

In 1878 with his companion Joséphine Fesser, Jongkind moved to live in the small town of La Côte-Saint-André near Grenoble in the Isère département in the southeast of France where he died in 1891. He is buried there in the local cemetery. A street is named after him in the neighborhood of streets named after 19th and 20th century Dutch painters in Overtoomse Veld-Noord, Amsterdam. (Wikipedia, the free encyclopedia)

Johann Jongkind left behind a legacy of landscape and marine oil paintings, watercolors and etchings. Many believe the simple and clean lines of his etchings make his works in this medium among the foremost of Dutch artists. He is considered an early Impressionist painter with strong ties to classical works. Sadly, as shortly as 10 months after his death, his paintings became highly sought after with prices for his paintings and etchings ranging from 40 to 200 times more than prices the he could sell them for. He typically earned only 3,000 francs a year but just a year after his death his Maas at Rotterdam sold for 28,000 francs and Canal at Brussels for 17,000 francs.

(thefamousartists.com)

THE COMMUNICATION, THE FEELINGS AND THE IDEAS

J.M.WW. Turner created a revolution in painting at the beginning of the 19th century, responding to a modern industrial landscape with a freer style and new approaches to composition. Yet a lasting dialogue with the 17th-century painter Claude Lorrain lay at the heart of these developments. By juxtaposing works by Turner with those of his mentor, Claude, it's possible to see how greatly Turner was influenced by Claude early on in his career. It highlights how Turner grew and how his style changed - to a point where he outgrew and out-shone Claude. Turner's ability to paint light reflections on water are truly incomparable.

(artfinder.com)

His work was exhibited when he was still a teenager. His entire life was devoted to his art. Unlike many artists of his era, he was successful throughout his career. Joseph Mallord William Turner was born in London, England, on April 23, 1775. His father was a barber. His mother died when he was very young. The boy received little schooling. His father taught him how to read, but this was the extent of his education except for the study of art. By the age of 13 he was making drawings at home and exhibiting them in his father's shop window for sale. Turner was 15 years old when he received a rare honor--one of his paintings was exhibited at the Royal Academy. By the time he was 18 he had his own studio. Before he was 20 print sellers were eagerly buying his drawings for reproduction. He quickly achieved a fine reputation and was elected an associate of the Royal Academy. In 1802, when he was only 27, Turner became a full member. He then began traveling widely in Europe.

(ibiblio.org)

Travel in Europe allowed him to study great artists, learn from them, and find ways to integrate what he learned into his own paintings. Almost from the beginning his work was saturated with light and color, and he showed a love of atmospheric effects – clouds, mist, fog, showers, spray, storms, fire, smoke. In his later work, both in oil and watercolor, his unique voice became stronger and stronger, and his paintings were more and more an expression of his own feelings, of his own imagination, more and more designed to evoke feelings in the viewer.

(mairimages.wordpress.com)

Rain, Steam and Speed The Great Western Railway

From en.wikipedia.org

Rain, Steam and Speed - The Great Western Railway; the painting depicts an early locomotive of the Great Western Railway crossing the River Thames on Brunel's completed Maidenhead Railway Bridge.The painting is also credited for allowing a glimpse of the Romantic strife within Turner and his contemporaries over the issue of the technological advancement during the Industrial Revolution. Turner was a well traveled man, frequently trekking to natural wonders of mainland Europe and the British Isles to sketch them in one of his dozens of notepads. He knew of the pains one must take to travel off the beaten path and wrote of one such occasion, traveling from Rome to Paris, to a friend in 1829: “…we never could keep warm or make our day’s distance good, the places we put up at proved all bad till Firenzola being even the worst for the down diligence people had devoured everything eatable (Beds none)…crossed Mont Cenis on a sledge – bivouaced in the snow with fire lighted for 3 Hours on Mont Tarate while the diligence was righted and dug out, for a Bank of Snow saved it from upsetting – and in the walk up to our knees in new fallen drift to get assistance to dig a channel thro’ it for the coach, so that from Foligno to within 20 miles of Paris I never saw the road but snow!”

Fifteen years later, Turner’s 1844 masterpiece, Rain, Steam and Speed: The Great Western Railway, in a way recognizes his thrill in the speed of the new coal train and his appreciation for such technology when traveling. Yet, he subtly recognizes the progressive threat that humans pose towards the cradle of the earth. The title follows the Turner pattern of 'nature first' in his titles, but at once you see what looks like a monstrous kiln underneath the rail bridge, and flames engulfing the ecstatic figures on the far side of the river. On top of the bridge you see the face of a demon with the body of a coal burning centipede, which itself looks like a line of glowing embers. Ahead of the train it is hard to spot the tiny hare at full sprint, trying to stay ahead of the state-of-the-art technology of the mid-1800’s. What is so interesting about this piece, Olivier Meslay points out in his book J.M.W. Turner: The Man Who Set Painting on Fire, is that “the notion of the sublime was no longer confined to natural phenomena, but incarnated in machines created by humanity with god-like aspirations, whose new power it served to magnify” and begs to question; what should we fear more, the awe of the wild, or the annihilation of it?

(en.wikipedia.org)

Ancient Italy - Ovid Banished from Rome

Source the-athenaeum.org

From en.wikipedia.org

Buttermere Lake with Part of Cromackwater, a Shower

From mairimages.wordpress.com

It’s a romantic painting, all about feeling. And it feels monumental. The painting is filled with massy shapes. Clouds massed in the sky, mountains in the background, crags around the water. Lights and darks seem shaped and molded into land and sky. Within these masses both vegetation and people appear small, immaterial. Light illuminates the background; the foreground is dark and shadowed. Cutting through the surrounding darkness the rainbow looks like an arc of light, catching the gleams of the sun behind the looming mountains, and bringing its rays closer, down to earth. There is rain in the dark clouds and dark shadows. A shower, Turner says, and it adds a misty feel as you peer through it. Yet he makes it feel like more, like something important, something that mirrors the movement of sun and shadow through our lives. Those caught in it, like the two in their small boat, can only wait for the shower to pass, and for the sun to reach where they are; meantime the rainbow brings the promise of the sun closer.

(mairimages.wordpress.com)

Calais Pier

From historicartgallery.com

Dido Building Carthage

From en.wikipedia.org

Burial at Sea

From historicartgallery.com

Although known for his oils, Turner is regarded as one of the founders of English watercolor landscape painting. Some of his most famous works are Calais Pier, Dido Building Carthage, Rain, Steam and Speed, Burial at Sea, and The Grand Canal, Venice.

(ibiblio.org)

Scarborough Town and Castle Morning

Boys Catching Crabs

Bridgeman Art Library

Art Gallery of South Australia, Adelaide, Australia

From artfinder.com

Heidelberg

From paintinghere.com

Ploughing up turnips near Slough

From wikipaintings.org

Campo Vaccino

From thehistoryblog.com

J. M. W. Turner’s intense and sublime Romantic landscapes are a world away from the controversy that surrounds the eponymous award. Like no artist before him, Turner channelled the potential of luminous colour washes, rhythmic brushwork and evocative lighting to elevate Romanticism to a whole new level of transcendence. A master of both watercolors and oils, Turner built on the influence of Claude Lorrain to develop a wholly distinctive style. Yet having earned respect and reverence from critics including John Ruskin, Turner changed his approach to a more liberal form of painting in a move that would have implications far beyond his own lifetime; laying the foundations of Impressionism and sowing the seed of what would eventually become abstract art.

(artfinder.com)As he grew older Turner became an eccentric. Except for his father, with whom he lived for 30 years, he had no close friends. He allowed no one to watch him while he painted. He gave up attending the meetings of the academy. None of his acquaintances saw him for months at a time. Turner continued to travel but always alone. He still held exhibitions, but he usually refused to sell his paintings. When he was persuaded to sell one, he was dejected for days. In 1850 he exhibited for the last time.

One day Turner disappeared from his house. His housekeeper, after a search of many months, found him hiding in a house in Chelsea. He had been ill for a long time. He died the following day - Dec 19, 1851. Turner left a large fortune that he hoped would be used to support what he called "decaying artists." His collection of paintings was bequeathed to his country. At his request he was buried in St. Paul's Cathedral.

(ibiblio.org)

THE COMMUNICATION, THE FEELINGS AND THE IDEAS

J.M.WW. Turner created a revolution in painting at the beginning of the 19th century, responding to a modern industrial landscape with a freer style and new approaches to composition. Yet a lasting dialogue with the 17th-century painter Claude Lorrain lay at the heart of these developments. By juxtaposing works by Turner with those of his mentor, Claude, it's possible to see how greatly Turner was influenced by Claude early on in his career. It highlights how Turner grew and how his style changed - to a point where he outgrew and out-shone Claude. Turner's ability to paint light reflections on water are truly incomparable.

(artfinder.com)

His work was exhibited when he was still a teenager. His entire life was devoted to his art. Unlike many artists of his era, he was successful throughout his career. Joseph Mallord William Turner was born in London, England, on April 23, 1775. His father was a barber. His mother died when he was very young. The boy received little schooling. His father taught him how to read, but this was the extent of his education except for the study of art. By the age of 13 he was making drawings at home and exhibiting them in his father's shop window for sale. Turner was 15 years old when he received a rare honor--one of his paintings was exhibited at the Royal Academy. By the time he was 18 he had his own studio. Before he was 20 print sellers were eagerly buying his drawings for reproduction. He quickly achieved a fine reputation and was elected an associate of the Royal Academy. In 1802, when he was only 27, Turner became a full member. He then began traveling widely in Europe.

(ibiblio.org)

Travel in Europe allowed him to study great artists, learn from them, and find ways to integrate what he learned into his own paintings. Almost from the beginning his work was saturated with light and color, and he showed a love of atmospheric effects – clouds, mist, fog, showers, spray, storms, fire, smoke. In his later work, both in oil and watercolor, his unique voice became stronger and stronger, and his paintings were more and more an expression of his own feelings, of his own imagination, more and more designed to evoke feelings in the viewer.

(mairimages.wordpress.com)

Rain, Steam and Speed The Great Western Railway

From en.wikipedia.org

Rain, Steam and Speed - The Great Western Railway; the painting depicts an early locomotive of the Great Western Railway crossing the River Thames on Brunel's completed Maidenhead Railway Bridge.The painting is also credited for allowing a glimpse of the Romantic strife within Turner and his contemporaries over the issue of the technological advancement during the Industrial Revolution. Turner was a well traveled man, frequently trekking to natural wonders of mainland Europe and the British Isles to sketch them in one of his dozens of notepads. He knew of the pains one must take to travel off the beaten path and wrote of one such occasion, traveling from Rome to Paris, to a friend in 1829: “…we never could keep warm or make our day’s distance good, the places we put up at proved all bad till Firenzola being even the worst for the down diligence people had devoured everything eatable (Beds none)…crossed Mont Cenis on a sledge – bivouaced in the snow with fire lighted for 3 Hours on Mont Tarate while the diligence was righted and dug out, for a Bank of Snow saved it from upsetting – and in the walk up to our knees in new fallen drift to get assistance to dig a channel thro’ it for the coach, so that from Foligno to within 20 miles of Paris I never saw the road but snow!”

Fifteen years later, Turner’s 1844 masterpiece, Rain, Steam and Speed: The Great Western Railway, in a way recognizes his thrill in the speed of the new coal train and his appreciation for such technology when traveling. Yet, he subtly recognizes the progressive threat that humans pose towards the cradle of the earth. The title follows the Turner pattern of 'nature first' in his titles, but at once you see what looks like a monstrous kiln underneath the rail bridge, and flames engulfing the ecstatic figures on the far side of the river. On top of the bridge you see the face of a demon with the body of a coal burning centipede, which itself looks like a line of glowing embers. Ahead of the train it is hard to spot the tiny hare at full sprint, trying to stay ahead of the state-of-the-art technology of the mid-1800’s. What is so interesting about this piece, Olivier Meslay points out in his book J.M.W. Turner: The Man Who Set Painting on Fire, is that “the notion of the sublime was no longer confined to natural phenomena, but incarnated in machines created by humanity with god-like aspirations, whose new power it served to magnify” and begs to question; what should we fear more, the awe of the wild, or the annihilation of it?

(en.wikipedia.org)

Ancient Italy - Ovid Banished from Rome

Source the-athenaeum.org

From en.wikipedia.org

Buttermere Lake with Part of Cromackwater, a Shower

From mairimages.wordpress.com

It’s a romantic painting, all about feeling. And it feels monumental. The painting is filled with massy shapes. Clouds massed in the sky, mountains in the background, crags around the water. Lights and darks seem shaped and molded into land and sky. Within these masses both vegetation and people appear small, immaterial. Light illuminates the background; the foreground is dark and shadowed. Cutting through the surrounding darkness the rainbow looks like an arc of light, catching the gleams of the sun behind the looming mountains, and bringing its rays closer, down to earth. There is rain in the dark clouds and dark shadows. A shower, Turner says, and it adds a misty feel as you peer through it. Yet he makes it feel like more, like something important, something that mirrors the movement of sun and shadow through our lives. Those caught in it, like the two in their small boat, can only wait for the shower to pass, and for the sun to reach where they are; meantime the rainbow brings the promise of the sun closer.

(mairimages.wordpress.com)

Calais Pier

From historicartgallery.com

Dido Building Carthage

From en.wikipedia.org

Burial at Sea

From historicartgallery.com

Although known for his oils, Turner is regarded as one of the founders of English watercolor landscape painting. Some of his most famous works are Calais Pier, Dido Building Carthage, Rain, Steam and Speed, Burial at Sea, and The Grand Canal, Venice.

(ibiblio.org)

Scarborough Town and Castle Morning

Boys Catching Crabs

Bridgeman Art Library

Art Gallery of South Australia, Adelaide, Australia

From artfinder.com

Heidelberg

From paintinghere.com

Ploughing up turnips near Slough

From wikipaintings.org

Campo Vaccino

From thehistoryblog.com

J. M. W. Turner’s intense and sublime Romantic landscapes are a world away from the controversy that surrounds the eponymous award. Like no artist before him, Turner channelled the potential of luminous colour washes, rhythmic brushwork and evocative lighting to elevate Romanticism to a whole new level of transcendence. A master of both watercolors and oils, Turner built on the influence of Claude Lorrain to develop a wholly distinctive style. Yet having earned respect and reverence from critics including John Ruskin, Turner changed his approach to a more liberal form of painting in a move that would have implications far beyond his own lifetime; laying the foundations of Impressionism and sowing the seed of what would eventually become abstract art.

(artfinder.com)As he grew older Turner became an eccentric. Except for his father, with whom he lived for 30 years, he had no close friends. He allowed no one to watch him while he painted. He gave up attending the meetings of the academy. None of his acquaintances saw him for months at a time. Turner continued to travel but always alone. He still held exhibitions, but he usually refused to sell his paintings. When he was persuaded to sell one, he was dejected for days. In 1850 he exhibited for the last time.

One day Turner disappeared from his house. His housekeeper, after a search of many months, found him hiding in a house in Chelsea. He had been ill for a long time. He died the following day - Dec 19, 1851. Turner left a large fortune that he hoped would be used to support what he called "decaying artists." His collection of paintings was bequeathed to his country. At his request he was buried in St. Paul's Cathedral.

(ibiblio.org)

ORIGINAL VEDUTISTI OF 19TH-CENTURY ITALY

An eclipse of the sun caught in the instant when, out of total darkness, the first spark of light reemerges. The snow brimming over the lacelike stone carvings in Venetian alleyways. A view of a radiant Rome veiled in a light mist. Violent reflected glare, the absolute blackness of nightscapes, Venice and Rome "depicted" like no one had ever dared before, amid torches, fireworks and dramatically stormy skies. The story of an "artist-reporter" and his marked penchant for the pictorial rendition of exceptional or at least unusual natural spectacles. The story of an unceasing search for unlikely points of view that could tinge the ordinary with novelty, revealing its intriguing and evocative side. When it appeared that all had been said about the landscape outlined the entire range of expression of the so called "vedutismo" school, the city of Belluno reveals a new chapter of this saga by paying homage to one of its most talented sons, the patriot Ippolito Caffi.

(italica.rai.it)

Snow and Fog on the Grand Canal

From imaginarymuseum.net

The Rialto Bridge Venice

From xaxor.com

The Grand Canal near the Doge’s Palace

From baudotcapital.com

After training in Belluno and Padua, Caffi attended the Accademia di Belle Arti in Venice between 1827 and 1831, studying under Teodoro Matteini, Francesco Bagnara and Tranquillo Orsi. On his move to Rome in 1832 he acquired immediate fame as a vedutista, displaying in his views an exceptional command of spatial construction and visual balance as well as a preference for unusual and new points of view, thus updating the veduta vocabulary inherited from Canaletto. His textbook on perspective, Lezioni di prospettiva pratica, was published in 1835. Extremely prolific and travelling extensively in Italy, the Orient and Europe, Caffi recorded his experiences in numerous sketches and received many commissions for paintings and frescoes throughout Italy. Hs works can be seen in museums in Venice, Turin and Trieste.

(baudotcapital.com)

‘Il Tevere e Castel Sant'Angelo’

From artericerca.com

Panorama of Rome from Monte Mario

From revizoronline.com

'Istmo di Suez - Venezia, Ca'Pesaro'
From artribune.com

Carnival at Venice

From paintingdb.com

His first work was produced at the Accademia in Venice. He subsequently moved to Rome, made some reputation by his treatise on perspective, as well as by his investigations on Roman archaeology. In 1843 he visited Greece and the East. The first work of his that created a sensation was Carnival at Venice. This was exhibited at Paris in 1846, and was admired for its brilliant effects of light. Other works are his Panorama of Rome from Monte Mario, Isthmus of Suez, and Close of the Carnival at Rome. He joined revolutionary movements in Venice in 1848, and had to retire into Piedmont. His aim of commemorating in paint the first Italian naval engagement was frustrated when the Rè d Italia, on which he traveled was destroyed at the battle of Lissa, drowning him along with his comrades.

(Wikipedia, the free encyclopedia)

'Strada Principale del Cairo'

'Il Vento Simun Nel Deserto Egiziano'

Images from artribune.com

Caffi is a highly fascinating artist and romantic figure, among the greatest and most original vedutisti of 19th-century Italy. During his short yet intense lifetime he achieved great fame and admiration, his landscapes and other works of art taking on a European dimension and breadth that make him similar to Corot. Yet in addition to being one of the most acclaimed artists of his time, Caffi was also a bold, restless person, an adventurous soul, an untiring traveler and a devoted patriot with his involvement in the movements of 1848-49, Austrian persecution and the Third War of Independence.

(WEB GALLERY OF ART at wga.hu)

ORIGINAL VEDUTISTI OF 19TH-CENTURY ITALY

An eclipse of the sun caught in the instant when, out of total darkness, the first spark of light reemerges. The snow brimming over the lacelike stone carvings in Venetian alleyways. A view of a radiant Rome veiled in a light mist. Violent reflected glare, the absolute blackness of nightscapes, Venice and Rome "depicted" like no one had ever dared before, amid torches, fireworks and dramatically stormy skies. The story of an "artist-reporter" and his marked penchant for the pictorial rendition of exceptional or at least unusual natural spectacles. The story of an unceasing search for unlikely points of view that could tinge the ordinary with novelty, revealing its intriguing and evocative side. When it appeared that all had been said about the landscape outlined the entire range of expression of the so called "vedutismo" school, the city of Belluno reveals a new chapter of this saga by paying homage to one of its most talented sons, the patriot Ippolito Caffi.

(italica.rai.it)

Snow and Fog on the Grand Canal

From imaginarymuseum.net

The Rialto Bridge Venice

From xaxor.com

The Grand Canal near the Doge’s Palace

From baudotcapital.com

After training in Belluno and Padua, Caffi attended the Accademia di Belle Arti in Venice between 1827 and 1831, studying under Teodoro Matteini, Francesco Bagnara and Tranquillo Orsi. On his move to Rome in 1832 he acquired immediate fame as a vedutista, displaying in his views an exceptional command of spatial construction and visual balance as well as a preference for unusual and new points of view, thus updating the veduta vocabulary inherited from Canaletto. His textbook on perspective, Lezioni di prospettiva pratica, was published in 1835. Extremely prolific and travelling extensively in Italy, the Orient and Europe, Caffi recorded his experiences in numerous sketches and received many commissions for paintings and frescoes throughout Italy. Hs works can be seen in museums in Venice, Turin and Trieste.

(baudotcapital.com)

‘Il Tevere e Castel Sant'Angelo’

From artericerca.com

Panorama of Rome from Monte Mario

From revizoronline.com

'Istmo di Suez - Venezia, Ca'Pesaro'
From artribune.com

Carnival at Venice

From paintingdb.com

His first work was produced at the Accademia in Venice. He subsequently moved to Rome, made some reputation by his treatise on perspective, as well as by his investigations on Roman archaeology. In 1843 he visited Greece and the East. The first work of his that created a sensation was Carnival at Venice. This was exhibited at Paris in 1846, and was admired for its brilliant effects of light. Other works are his Panorama of Rome from Monte Mario, Isthmus of Suez, and Close of the Carnival at Rome. He joined revolutionary movements in Venice in 1848, and had to retire into Piedmont. His aim of commemorating in paint the first Italian naval engagement was frustrated when the Rè d Italia, on which he traveled was destroyed at the battle of Lissa, drowning him along with his comrades.

(Wikipedia, the free encyclopedia)

'Strada Principale del Cairo'

'Il Vento Simun Nel Deserto Egiziano'

Images from artribune.com

Caffi is a highly fascinating artist and romantic figure, among the greatest and most original vedutisti of 19th-century Italy. During his short yet intense lifetime he achieved great fame and admiration, his landscapes and other works of art taking on a European dimension and breadth that make him similar to Corot. Yet in addition to being one of the most acclaimed artists of his time, Caffi was also a bold, restless person, an adventurous soul, an untiring traveler and a devoted patriot with his involvement in the movements of 1848-49, Austrian persecution and the Third War of Independence.

(WEB GALLERY OF ART at wga.hu)

19TH CENTURY ALPINE AND MOUNTAIN PAINTER OF AUSTRIA

Anton Hansch (born 24 March 1813 in Vienna; died 8 December 1876 in Salzburg) was an Austrian painter. He was a pupil of Josef Mössmer (1780-1845) at the Academy of Vienna, and afterwards traveled and studied in Germany, Belgium, Switzerland, and Italy. His works consist of landscapes remarkable for composition and careful detail.

(Wikipedia, the free encyclopedia)

‘Weite Flusslandschaft im Abendlicht’

Source Nagel Auktionen at auction.de
From commons.wikimedia.org

‘Blick vom Gosausee auf den Dachstein’

Source dorotheum.com

From commons.wikimedia.org



‘Eiger Mönch Jungfrau’

Source dorotheum.com

From commons.wikimedia.org



'Österreichischer Bergsee mit Staffage’

From dobiaschofsky.com

The Grossvenediger

Current Loc Residenzgalerie

From WEB GALLERY OF ART at wga.hu

He came from an old Viennese family. From 1834 onwards, study tours, often with his friends, took him to the Alpine region. Before his first successes as a painter in 1836, Hansch coloured cheap prints. After 1848, the artist, who had meanwhile become a member of the Vienna Academy, changed to larger formats and attracted the attention of the imperial family with spectacular motifs, such as high-Alpine landscapes. The ensuing years were marked by success. In 1860, Hansch, who was influenced by Alexandre Calame, won the first prize for landscape painting at the Vienna Academy. This was followed by major exhibitions of his works. In 1873, the artist lost his entire fortune in the stock market crash and retired to Salzburg. His sudden death put an end to his plan to set up a school of landscape painting in Salzburg.
(WEB GALLERY OF ART at wga.hu)

Alpine panorama with a waterfall

From altekunst-vienna.com

Anton Hansch is the most important alpine and mountain painter of Austria in the second half of 19th Century. His paintings are usually idealizing and heroic. Study trips, often together with its friend Friedrich Gauermann, led him to the alpine region. In 1848 Hansch became a member of the Viennese academy and in 1861 the house of artists. In 1875 he moved to Salzburg, where he died one year after.
(altekunst-vienna.com)