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April 6 or March 28, 1483 – April 6, 1520. Italian painter.

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Alfred Darjou
La Danse de la gargoulette (mk32)
huile sur toile signee 52 x 76 cm Coll part
ID: 25203

Alfred Darjou La Danse de la gargoulette  (mk32)
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Alfred Darjou La Danse de la gargoulette  (mk32)


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Alfred Darjou

1832-1874  Related Paintings of Alfred Darjou :. | Icon of St Nicholas | Battle wide Trafalgar | Grand Duke Constantine Pavlovich of Russia | Vitus Bering | Claudio and Isabella |
Related Artists:
carl locher
(1851-1915) was a Danish realist painter who from an early age became a member of the Skagen group of painters. Even before he began his studies at the Royal Danish Academy of Art in 1872, he was encouraged by Holger Drachmann to spend a couple of months in Skagen, the artists colony in the far north of Jutland. He quickly completed paintings of the beach, some with fishing boats or wrecks. He also became interested in the horse-drawn carriage which travelled along the beach on its journey from Frederikshavn. In the 1870s, Locher continued his studies in Paris but he visited Skagen whenever he was back in Denmark. Ultimately he had a house built there where he lived until his death.
Cornelis Van Leemputten
(1841-1902) was a Belgian painter. Born in Werchter, Cornelius van Leemputten is predominantly known for his landscapes with sheep, similar to the style of Charles Jacque. He began his painting career without formal training. He was well-known for his barnyard subjects. Leemputten eventually became a pupil of the Academy of Antwerp, though his style remained primarily self-taught. Van Leemputten participated across several international exhibitions and received gold medals in Ghent in 1883, Edinburgh in 1886, Port Adelaide in 1887 and in Berlin in 1896. In 1895, he received the Knight of the Order of Leopold (Belgium).
Antonio Canova
Italian Neoclassical Sculptor, 1757-1822 Italian sculptor, painter, draughtsman and architect. He was the most innovative and widely acclaimed sculptor of NEO-CLASSICISM. His development during the 1780s of a new style of revolutionary severity and idealistic purity led many of his contemporaries to prefer his ideal sculptures to such previously universally admired Antique statues as the Medici Venus and the Farnese Hercules, thus greatly increasing the prestige of 'modern' sculpture. He was also much in demand as a portrait sculptor.






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