Adolph von Menzel
Adolph von Menzel Gallery
His father was the headmaster of a school for girls, and intended to educate his son as a professor; but he would not thwart his taste for art. Left an orphan in 1832, Menzel had to maintain his family. In 1833 Sachse of Berlin published his first work, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkw??rdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies.
From 1839 to 1842 he produced 400 drawings, largely introducing to Germany the technique of wood engraving, to illustrate the Geschichte Friedrichs des Grossen (History of Frederick the Great) by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung (The Uniforms of the Army under Frederick the Great), Soldaten Friedrichs der Grossen (The Soldiers of Frederick the Great); and finally, by order of the king Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedricks des Grossen (1843-1849).
By these works Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line.
Pencil drawing by Menzel, 1891.Meanwhile Menzel had set himself to study unaided the art of painting, and he soon produced a great number and variety of pictures, always showing keen observation and honest workmanship in subjects dealing with the life and achievements of Frederick the Great, and scenes of everyday life, such as In the Tuileries, The Ball Supper, and At Confession. Among the most important of these works are The Forge (1875) and The Market-place at Verona. Invited to paint The Coronation of William I at Koenigsberg, he produced an exact representation of the ceremony without regard to the traditions of official painting.
In Germany he received many honors, and was the first painter to be given the Order of the Black Eagle in 1898 which included a title of nobility, becoming von Menzel. Related Paintings of Adolph von Menzel :. | Costume Study of a Seated Woman: The Artist's Sister Emilie | Das Eisenwalzwerk,Ausschnitt:Einschieben des Blockes in das Walzwerk | Plaster Casts on the Studio Wall | A Paris Day (mk09) | Treppenflur bei Nachtbeleuchtung |
Related Artists:Lucas Horenbout
Lucas Horenbout, often called Hornebolte in England, (Ghent c. 1490 to 1495 - London 1544) was a Flemish artist who moved to England in the mid-1520s and worked there as "King's Painter" and court miniaturist to King Henry VIII from 1525 until his death. He was trained in the final phase of Netherlandish illuminated manuscript painting, in which his father Gerard was an important figure, and was the founding painter of the long and distinct English tradition of portrait miniature painting. He has often been suggested as the Master of the Cast Shadow Workshop, who produced royal portraits on panel in the 1520s or 1530s.
Horenbout trained in Ghent with his father, Gerard Horenbout, becoming a Master of the local Guild of Saint Luke in 1512. Gerard was an important Flemish manuscript illuminator in the dying days of that art-form, who had been court painter, from 1515 to about 1522, to Margaret of Austria, Regent of the Netherlands. Margaret was twice sister-in-law to Catherine of Aragon, still Henry's (first) Queen when the Horenbouts came to England. Gerard is sometimes identified with the "Master of James IV of Scotland", one of the many artistic personalities identified as a significant illuminator in the Ghent-Bruges school of the period, to whom no historical person can be attached.
Horenbout came over to England at an unknown date with, or perhaps before, his sister Susanna and his father. It has been suggested that their move was in connection with an attempt by the King, or possibly Cardinal Wolsey, to revive English manuscript illumination by establishing a workshop in London, but this is controversial. His father Gerard is first recorded in England in 1528, and later returned to the Continent, probably after 1531; he had died in Ghent by 1540. Susanna, who was also an illuminator, is recorded in 1529 as married to a John Palmer and in England.
Lucas is documented in England from September 1525, when he was first paid by the King as "pictor maker". By 1531 he was described as the "King's Painter", and this appointment was confirmed for life in June 1534, when he became a "denizen" - effectively a naturalised citizen. Horenbout was very well paid, at sixty-two pounds and ten shillings (but only thirty-three pounds and six shillings according to Richard Gay) per year, a "huge" sum according to Strong, and better than Holbein's thirty pounds a year in his period as Henry's court painter. He was granted a "tenement" in Charing Cross, and permitted to take on four foreign journeyman. Lucas was buried at Saint Martin in the Fields and left a wife and daughter, Margaret and Jacquemine. Margaret was paid sixty shillings three years later by Queen Catherine Parr for some paintings.Hermann Groeber
painted Die Dorfstrabe in
Germany (1865- 1935 ) - PainterLELY, Sir Peter
Dutch/English painter (b. 1616, Soest, d. 1680, London
Dutch painter, draughtsman and collector, active in England. By a combination of ability and good fortune, he rapidly established himself in mid-17th-century London as the natural successor in portrait painting to Anthony van Dyck. Between van Dyck's death in 1641 and the emergence of William Hogarth in the 1730s, Lely and his successor, Godfrey Kneller, were the leading portrait painters in England. After the restoration of the monarchy in 1660, Lely dominated the artistic scene, and his evocation of the court of Charles II is as potent and enduring as was van Dyck's of the halcyon days before the English Civil War. Although Lely's reputation was seriously damaged by portraits that came from his studio under his name but without much of his participation, his development of an efficient studio practice is of great importance in the history of British portrait painting. The collection of pictures, drawings, prints and sculpture