or not, as Houbraken would like us to believe, Steen’s “paintings are as his manner
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden.
indicates that the creation of tronies was one way by which the master taught his manner
Rembrandt had already depicted the artist Asselijn, Jan in such a manner, seated
Born in Augusta, Georgia, Jasper Johns spent much of his childhood in South Carolina. He briefly attended the University of South Carolina but in 1949 moved to New York City, where he took classes at a commercial art school.
visual arts by presenting them in a cool, seemingly detached, and often enigmatic manner
structural design implied in abstraction and be presented in a wholly realistic manner
evident in many areas of the painting are, indeed, reminiscent of De Gelder’s later manner
Raised in Brooklyn, Walt Kuhn (born William but called Walt from a young age) developed an early interest in drawing and theater. In 1893 Kuhn took art classes at the Brooklyn Polytechnic Institute.
The artist also painted many still lifes in a similarly bold, geometric manner.
Toward the end of his early Leiden period, Jan Lievens created a series of tronies, or head studies, of older men and women. Even though he based them on the features of live models, these tronies were character studies rather than formal portraits.
By the early 1630s their manners became so similar that even contemporaries were
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden.
This painting is unusual in that the costume is executed in a manner quite different
Northern Landscape, Spring is the first oil painting by Caspar David Friedrich (1774 – 1840) or by any artist of the German romantic school—to enter the collections of the National Gallery of Art. It joins a superb pen and sepia wash drawing by Friedrich, Moonrise on an Empty Shore , 1837/1839, acquired in 1992.
There Friedrich learned his delicate and precise manner of painting, and developed
