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Michael Howard

(b Vercelli, Piedmont, March 11, 1806; d Dijon, March 5, 1867).

French painter, illustrator, set designer and poet. He studied at the Ecole des Beaux-Arts in Paris under Guillaume Lethière from 1821. The Punishment of Mazeppa (1827; Rouen, Mus. B.-A.), inspired by the scene from Byron’s poem, in which Mazeppa is tied to the back of a wildly stampeding horse, is his most important early painting and one of the key images of the Romantic movement.

Early in his career Boulanger became friendly with Eugène and Achille Devéria. Through them he met Victor Hugo, who became his ardent supporter and the source of many of his most typical works. Among Boulanger’s illustrations were those for Hugo’s Odes et ballades (1829), Les Orientales (1829), Les Fantômes (1829) and Notre-Dame de Paris (1844). Boulanger interpreted the macabre and romantic quality of Hugo’s texts with an imaginative power and freedom that anticipated Redon (e.g. ‘...

Article

Gerardo Pérez Calero

(b Madrid, 1823; d 1897).

Spanish painter, watercolourist and illustrator. He trained at the Escuela de Nobles Artes in Seville (1833–40) and subsequently at the Real Academia de S Fernando in Madrid. He became a member of the Academia de S Isabel de Hungria of Seville in 1848, where he taught from 1859 and reformed the teaching of art. His early work shows traces of Neo-classicism, although his art is essentially based on Romanticism. Between 1851 and 1861 he concentrated on portrait painting, depicting mainly female subjects or children; examples include Youth with a Dog (Seville, Neana Col.), Self-portrait (Seville, Mus. B.A.) and Josefa Garvey (Seville, priv. col.). He was an important link between Romanticism and Realism and stimulated a renewed interest in history painting in Spain, a genre he established at the Exposición Nacional in 1856 with his painting Christopher Columbus in the Convent of La Rábida (Madrid, Pal. de las Cortes), which was awarded first prize. He won the same prize in ...

Article

Donald A. Rosenthal

(b Bordeaux, July 16, 1804; d Paris, Feb 18, 1868).

French painter, illustrator and writer. His early training was as a theatrical scene painter and a designer of lithographic illustrations. In Bordeaux he studied with Pierre Lacour (ii) (1778–1859) and worked with Thomas Olivier (1772–1839), chief scene designer at the Grand-Théâtre. He subsequently studied in Paris in the studio of the landscape and history painter Julien-Michel Gué (1789–1843) and worked for the decorators of the Théâtre Italien.

From 1827 Dauzats provided lithographic designs for Isidore-Justin-Séverin Taylor’s series Voyages pittoresques et romantiques dans l’ancienne France (1820–78). He travelled in the French provinces, particularly Champagne, Dauphiné and Languedoc, often sketching the medieval monuments that had come into vogue during the Romantic period.

Dauzats also collaborated on lithographs for many other publications, including Taylor’s Voyage en Orient. For this last project Dauzats travelled to Egypt, Syria, Palestine and Turkey in 1830, a trip that he described in his book ...

Article

Gilles Chazal

(b Strasbourg, Jan 6, 1832; d Paris, Jan 23, 1883).

French illustrator, painter and sculptor. He was born into a cultivated and well-to-do family. By the age of five he was drawing on every piece of paper that came within his reach. He was particularly fond of caricaturing his parents, friends and teachers. In 1838 he was already capable of producing entire series of illustrations such as Mr Fox’s Meeting (1839; priv. col.) and Scenes from the Public and Private Life of Grandville’s Animals (1845; Strasbourg, Mus. B.-A.). By 1843, while studying at the Lycée in Bourg-en-Bresse, he was making brilliant attempts at lithography such as La Martinoire du Bastion (1845; Bourg-en-Bresse, Mus. Ain). In 1847 Charles Philippon, founder of Caricature and Charivari, saw drawings by Doré, who was passing through Paris. He took Doré on, published his Labours of Hercules and urged his parents to set him up in the capital. From then on, while still a pupil at the Lycée Charlemagne, Doré found himself contractually bound to produce a drawing a week for Philippon’s ...

Article

Tone Skedsmo

(b Drammen, May 5, 1877; d Kristiania [now Oslo], Feb 2, 1899).

Norwegian painter and illustrator. His artistic education began at the age of nine, when he enrolled at the school of art of Knud Bergslien (1827–1908) in Kristiania, where he was a pupil from 1886 to 1889. Even from this early period his painted studies and drawings, for instance of his sister Signe and brother Carl (both 1887; Oslo, N.G.), reveal striking maturity. In 1891 he was a pupil of Erik Werenskiold and from 1891 to 1892 he studied at the Arts and Crafts School in Kristiania. Egedius discovered his strongest impetus and greatest inspiration, however, on his first visit to Telemark in south-west Norway in summer 1892. The artist Torleif Stadskleiv (1865–1946), whom he met there and who became his closest friend, endeared the region to Egedius with stories of its traditions and people. In 1894 Egedius studied for a short period under Harriet Backer, and he made his début at the Kristiania Autumn Exhibition in ...

Article

Sixten Ringbom

(Valdemar) [Gallén, Axel until 1904]

(b Pori [Swed. Björneborg], Finland, April 26, 1865; d Stockholm, March 7, 1931).

Finnish painter, graphic artist and designer. He learnt the elements of drawing and painting in Helsinki at the School of the Finnish Arts Society and the studio of the painter Adolf von Becker (1831–1909).

His first significant painting, The Boy and the Crow (1884; Helsinki, Athenaeum A. Mus.), shows his ambition to keep abreast of developments in Naturalism, a style introduced to him through the works of young Finnish and Scandinavian painters in Paris. In the autumn of 1884 he arrived in Paris, where he attended the Académie Julian and the studio of Fernand Cormon. In 1885 he completed his oil painting Old Woman with a Cat (Turku, A. Mus.), a veristic study of poverty and deprivation. Gallén’s single-figure compositions of this period followed a formula exploited by Jean-François Millet, Jules Breton and Jules Bastien-Lepage. In these seemingly static images, the life story of the protagonist was suggested through significant attributes, physiognomic elaboration and background details....

Article

Paul Spencer-Longhurst

(b Rome, May 4, 1770; d Paris, Jan 11, 1837).

French painter and illustrator.

He spent most of his childhood in Rome. His talent as an artist revealed itself early and during this period he acquired a love of Italian painting and music, which he never lost. In 1782 his family returned to Paris, where, through the connections of his father’s employer Louis-Auguste le Tonnelier, Baron de Breteuil, Minister of the King’s Household, Gérard was admitted to the Pension du Roi, a small teaching establishment for young artists which had been founded by the Marquis de Marigny. After 18 months he entered the studio of the sculptor Augustin Pajou, where he remained for two years, before transferring to that of the painter Nicolas-Guy Brenet. He became a pupil of David in 1786 and quickly found special favour with his master.

In 1789 Gérard competed for the Prix de Rome and his entry, Joseph Revealing himself to his Brethren (Angers, Mus. B.-A.), was placed second; the winner was Girodet. He did not submit in ...

Article

Torsten Gunnarsson

(b Kalmar, Oct 11, 1858; d Stockholm, May 11, 1930).

Swedish painter, draughtsman and illustrator. From 1874 he studied at the Konstakademi in Stockholm, where he soon became a friend of Richard Bergh and Karl Nordström, both of whom were later prominent exponents of the more advanced Swedish painting of the 1880s and 1890s. After being forced to interrupt his studies because of illness, Kreuger trained from 1878 at the art school of Edvard Perséus (1841–90) in Stockholm before he travelled to Paris, where he stayed for the most part until 1887. He made his début at the Paris Salon in 1882, and he also resided in the artists’ colony in Grez-sur-Loing. During this period he painted such works as Old Country House (1887; Stockholm, Nmus.) with a free brushwork and sense of light that owed much to Jules Bastien-Lepage. In 1885 Kreuger was active in organizing the Opponenterna, a protest movement led by Ernst Josephson against the conservative establishment of the Konstakademi in Stockholm, and the following year he helped to found the ...

Article

Virginia Button

(b Cambridge, Dec 25, 1917; d London, Jan 20, 1957).

English painter and illustrator. He attended St John’s Wood School of Art from 1935 to 1938. A celebrity of London’s bohemia and a key figure of Neo-Romanticism in the 1940s, he lived and worked with most of the younger generation Neo-Romantics including Michael Ayrton (1921–76), Robert Colquhoun, Robert MacBryde and Keith Vaughan. Invalided out of the army in 1943, he devoted himself to art, producing work for seven one-man shows between 1945 and 1956.

Minton’s eclectic style combined elements of French and British Neo-Romanticism. His main theme, partly homoerotic, was the young male figure in emotionally charged settings. Five phases in his work have been identified, ranging from landscapes reminiscent of those of Samuel Palmer, for example Recollections of Wales (1944; Brit. Council; for illustration see Neo-Romanticism), to scenes of urban decay, such as Rotherhithe from Wapping (1946; Southampton, C.A.G.). In the post-war years he was attracted to exotic places in search of new subjects....

Article

Hans Joachim Neidhardt

(b Dresden, Sept 28, 1803; d Dresden, June 19, 1884).

German painter, printmaker and illustrator. He ranks with Moritz von Schwind as the most important representative of late Romantic painting and printmaking in Germany. In contrast to the work of such leading masters of early Romanticism as Philipp Otto Runge and Caspar David Friedrich, which was ambitious in content and innovative in form, Richter’s art was more modest in its aims, in line with the restrained intellectual climate of the Biedermeier period.

Richter came from a lower middle-class background and was first taught by his father, the copperplate engraver Carl August Richter (1770–1848). His early work consists of etched landscape views in the style of Adrian Zingg (1734–1816). In 1820–21 Richter accompanied the Russian Prince Narishkin on a journey to France as a veduta draughtsman, and then he lived in Italy from 1823 to 1826. He was in contact with the circle of the Lukasbrüder (Nazarenes) in Rome and was a pupil of the landscape painter ...

Article

[Adolph]

(b Schwedt am Oder, June 28, 1805; d Karlsruhe, Dec 9, 1875).

German painter, illustrator and printmaker. After training as an engraver and lithographer in the workshop of his father, Karl Friedrich Heinrich Schrödter, he went to Berlin, where he became a pupil of Ludwig Buchheim. He studied painting in Düsseldorf with Wilhelm Schadow from 1829. His work of this period represents a critique of the sentimental Romanticism of contemporary painting in Düsseldorf. His paintings also had a comic element, derived from his interest in English works; this subsequently became an essential feature of genre painting in Düsseldorf. Tavern in the Rhineland (1833; Bonn, Rhein. Landesmus.) shows Schrödter’s attempt to create truth to nature by incorporating impressions from studies into the finished painting. The detailed activity and light colours contribute to the unusually fresh atmosphere of the pictures.

Schrödter’s illustrative work and decorative initials for books were imitated by many other artists. In 1835 he produced a decorative frontispiece for the first volume of ...

Article

Rudolf M. Bisanz

(b Vienna, Jan 21, 1804; d Niederpöcking, nr Munich, Feb 8, 1871).

Austrian painter and illustrator.

He studied at the Akademie der Bildende Künste in Vienna (1821–3), where he was influenced by the Biedermeier genre painter Peter Krafft and the Nazarene painter Ludwig Ferdinand Schnorr von Carolsfeld. He made copies after the Old Masters at the Belvedere in Vienna, exploring especially Dürer, Albrecht Altdorfer, Raphael and Titian, which completed his early, largely autodidactic experience of art. His friendship with Franz Schubert, the poet and playwright Franz Grillparzer and the painters Ferdinand and Friedrich Olivier, as well as the cultural environment of Biedermeier Vienna in his years there between 1823 and 1828, shaped his spiritual development as a painter. His love of music inspired his later ‘symphonic’ compositions and flowing linear rhythms. Extensive reading of the work of Romantic writers such as Achim von Arnim, Clemens von Brentano, Ludwig Tieck, Friedrich Heinrich von Hagen and the brothers Jacob and Wilhelm Grimm helped prepare his mature pictorial themes of fairytales, legends and sagas. He was unsuccessful as a painter and eked out a meagre livelihood by drawing naturalistic genre scenes for engravers, while occasionally selling a painting. ...

Article

L. I. Popova

(Hryhorovych) [Grigor’yevich]

(b Moryntsi, Kiev province [now Cherkasy region], March 9, 1814; d St Petersburg, March 10, 1861).

Ukrainian painter, graphic artist and poet. He was born a serf, and he moved to St Petersburg with his owner in 1831. In 1832–8 he worked in the studio of the fresco painter V. Shiryayev. With the help of some Russian writers and artists, he was bought out of serfdom in 1838, and he enrolled at the Academy of Arts. From 1838 to 1845 he studied under Karl Bryullov, whose influence, which continued, can already be seen in Shevchenko’s watercolour Gypsy Woman and the Self-portrait in oils (both 1841; Kiev, Shevchenko Mus.)

Bryullov’s influence is further notable in Shevchenko’s portraits of the 1840s. Shevchenko’s artistic and literary activities went hand in hand, and he published numerous volumes of poetry. In 1842 he painted the picture Katerina (Kiev, Shevchenko Mus.) on the same subject as his poem of that title—a serf girl deceived and abandoned by an officer. The central figure is painted with great delicacy and psychological effect; although conventional in composition and tone it shows a detailed observation of everyday life....

Article

Erik Mortensen

(Valentin)

(b Birkerød, N. Zealand, June 24, 1801; d Copenhagen, Sept 24, 1890).

Danish painter. His father, Jørgen Sonne (1771–1833), a map engraver and book illustrator, originally intended that Sonne should have a military career. However, after a brief period at the military academy Sonne enrolled at the Kunstakademi in Copenhagen. He became a private pupil of Christian David Gebauer (1777–1831), a painter of animals and battle scenes. In the life class he was taught by Johan Ludvig Lund (1777–1867), who had been influenced by the German Nazarenes. He was awarded a grant to continue his studies abroad, and in January 1829 he was admitted to the academy in Munich, where he was influenced by the battle and genre painter Peter von Hess (1792–1871). From November 1831 until late 1840 or early 1841 he was in Rome, featuring in Constantin Hansen’s A Group of Danish Artists in Rome (Copenhagen, Stat. Mus. Kst), painted in 1837...