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

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Johann Heinrich Fuseli
The Artist Moved by the Grandeur of Antique Fragments
1778-79 Red chalk on sepia wash, 415 x 355 mm Kunsthaus, Z?rich The young Henry Fuseli, in the late 1770s, portrayed himself reduced to despair before the vastness of Rome's remains. Since he had spent eight years studying in the city, his awe was doubtless exaggerated, but it was also a premonition of the powerful emotions that were to be released in his art. Author: FUSELI, John Henry Title: The Artist Moved by the Grandeur of Antique Fragments Form: graphics , 1751-1800 , Swiss , other
ID: 62501

Johann Heinrich Fuseli The Artist Moved by the Grandeur of Antique Fragments
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Johann Heinrich Fuseli The Artist Moved by the Grandeur of Antique Fragments


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Johann Heinrich Fuseli

1741-1825 Romanticism Swiss   Related Paintings of Johann Heinrich Fuseli :. | Titania liebkost den eselkopfigen Bottom | Theodore Meets in the Wood the Spectre of His Ancestor Guido Cavalcanti | Lady Macbeth receives the daggers | The Awakening of the Fairy Queen Titania | Johann Heinrich Fussli im Gesprach mit dem Zurcher Historiker und Literat Johann Jacob Bodmer |
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Charles Philips
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Jan van Bijlert
Dutch Baroque Era Painter, ca.1597-1671 Dutch painter. He was the son of the Utrecht glass painter Herman Beerntsz. van Bijlert (c. 1566-before 1615). Jan must have trained first with his father but was later apprenticed to the painter Abraham Bloemaert. After his initial training, he visited France and travelled to Italy, as did other artists from Utrecht. Jan stayed mainly in Rome, where he became a member of the Schildersbent; he returned to Utrecht in 1624. In Rome he and the other Utrecht artists had come under the influence of the work of Caravaggio; after their return home, this group of painters, who became known as the UTRECHT CARAVAGGISTI, adapted the style of Caravaggio to their own local idiom. The Caravaggesque style, evident in van Bijlert's early paintings, such as St Sebastian Tended by Irene (1624; Rohrau, Schloss; see fig.) and The Matchmaker (1626; Brunswick, Herzog Anton Ulrich-Mus.), is characterized by the use of strong chiaroscuro, the cutting off of the picture plane so that the image is seen close-up and by an attempt to achieve a realistic rather than idealized representation.
Hermann August Cappelen
(1 May 1827 - 8 March 1852) was a Norwegian painter. Cappelen was best known for his melancholic, dramatic and romantic landscape compositions. Hermann August Cappelen was born in Skien, Norway. He was the son of Diderik von Cappelen (1795-1866) and Margaret Noble Severine Henriette Løvenskiold (1796-1866). Both the Løvenskiold and Cappelen families were prominent Norwegian family of merchants, land owners, civil servants and politicians. His family were the owners of prominent iron works and various other properties. His grandfather, Diderik von Cappelen (1761-1828), was member of the Norwegian Constituent Assembly at Eidsvoll in 1814. He grew up at Holden, a manor in Ulefoss in the Grenland district of the county of Telemark. After school graduation in Skien in 1845, he went to Christiania to take another exam at the University of Oslo. He subsequently went to Dusseldorf, where he studied with Hans Gude. Cappelen was a student at Kunstakademie Dusseldorf under Johann Wilhelm Schirmer in landscape painting class (1846-1850).






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