His style was not fully within other popular modes of the time, such as Pre-RaphaelismorNeoclassicism, and can be seen as a fusion of various methods and aesthetics of his time, including later in life utilising post-Romantic techniques such as lighter brushwork and softer shades.
Thomas Francis Dicksee was an English painter, primarily a portraitist and painter of historical, genre subjects — often from Shakespeare. He exhibited at the Royal Academy from 1841 until the year of his death. His brother John Robert Dicksee was also a painter, and his children, Frank and Margaret likewise became painters. In The Dictionary of Victorian Painters, Herbert Dicksee is given as his son also, but according to the City of London School, where Herbert taught, he was the son of John Robert Dicksee.
Makart was an Austrianacademichistory painter, designer, and decorator. He is most well known for his influence on Gustav Klimt and other artists of the Vienna Secession, but in his own era considered an important artist himself and a celebrity figure in the high culture of Vienna, attended with almost cult-like adulation. The appeal of this ‘Makartstil’ is in its aestheticism, a movement that was also experiencing popularity in EnglandandFrance. Nowadays he is widely considered one of Austria’s finest artists, and has historically been compared to Rubens within his home country.
Rosina Ferrara (1861–1934) was an Italian girl from the island of Capri, who was a muse and friend of numerous expatriate artists including John Singer Sargent, Frank Hyde, Charles Sprague Pearce, Charles Caryl Coleman, Alfred Stevens, and George Randolph Barse, whom she later married.
His style was not fully within other popular modes of the time, such as Pre-RaphaelismorNeoclassicism, and can be seen as a fusion of various methods and aesthetics of his time, including later in life utilising post-Romantic techniques such as lighter brushwork and softer shades.
Max Volkhart was a Germangenre painter and etcher of the Düsseldorf School. His paintings tend to show uncomplicated scenes of daily life from the 18th and 19th centuries.
He attained a great deal of fame during his lifetime as a painter of the famous (including royalty and three American presidents), and this allowed him a great accumulation of wealth during his lifetime. He used this money primarily to build a substantial art collection, which he donated to the Swedish state upon his death, and also to purchase 40 timber houses which Zorn wished to preserve to ensure that the art of traditional timber building was not forgotten. This reflects the respect of Zorn for his other great subject of painting, which was poor and working people, and rural environments.
Bird I & II both are acrylic on canvas, 5 x 7″ 2019 Based on photographs by Hugh Welch Diamond of a patient at the Surrey County Lunatic Asylum. Circa 1840-1850′s.
“Case 27. Lepra Macula.— Aged 14 years. Presented herself in my clinic at the Charity Hospital, February 28th, 1888, with the following history: Born in the Fifth District of this city (Algiers) and has always lived there, attending one of the public schools.”
Source image (right picture) from Leprosy in New Orleans by Henry W. Blanc, 1889.
Posed, acrylic on linen, 2019 (bottom right image is of the painting’s first layer, bottom left and top right are finished)
Source image (top left) from Leprosy in New Orleans by Henry W. Blanc, 1889:
“Case 27. Lepra Macula.— Aged 14 years. Presented herself in my clinic at the Charity Hospital, February 28th, 1888, with the following history: Born in the Fifth District of this city (Algiers) and has always lived there, attending one of the public schools.”
