Alfred Sisley
Alfred Sisley's Oil Paintings
Alfred Sisley Museum
1839 -- 1899. English Impressionist landscape painter.

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Hans Sandreuter
Autumn in the Leime Valley (nn02)
1892 Oil on canvas,47 5/8 x 59 1/2'' The Oskar Reinhart Foundation Winterthur
ID: 23195

Hans Sandreuter Autumn in the Leime Valley (nn02)
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Hans Sandreuter Autumn in the Leime Valley (nn02)


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Hans Sandreuter

1850 -1901  Related Paintings of Hans Sandreuter :. | Mother and Daughter | Belshazzar s Feast | Recreation by our Gallery | La Joueuse d'Amzad (mk32) | wols komposition |
Related Artists:
BOSSCHAERT, Johannes
Flemish painter (b. ca. 1610, Middelburg, d. ca. 1650, Utrecht) was a member of the Bosschaert family of still life painters. He was the second son of Ambrosius Bosschaert. Little is known about his life, including the date of his death.
Mendham, Robert
English, active 1821-1858
PANTOJA DE LA CRUZ, Juan
Spanish Painter, 1553-1608 Spanish painter. He must have moved to Madrid when he was very young, receiving his training in the workshop of Alonso S?nchez Coello, painter to Philip II. On numerous occasions he declared himself to be a follower of S?nchez Coello, in whose workshop he was an oficial, and he probably collaborated to a considerable degree on many of his master's mature works. There are very few signed works by Pantoja from before the death of S?nchez Coello, although some anonymous paintings from the workshop are probably by him. In Madrid in 1587 Pantoja married a woman of some means, and by the following year, when S?nchez Coello died, he was an independent painter, aspiring to his master's position. Documentation exists from 1590 concerning portraits by Pantoja of members of the royal family including one of Don Felipe, the future Philip III (1593; Vienna, Ksthist. Mus.). On Philip's accession to the throne in 1598 Pantoja painted another portrait of him (Vienna, Ksthist. Mus.) and became the official portrait painter for the court and for the nobility of Madrid; there is detailed documentation for his work from this time. He painted clothing and jewels with precision, in minute detail and with a dry objectivity in the Flemish tradition. His treatment of faces, however, clearly reveals his study of Venetian portraiture, and in particular that of Titian, as well as sharp psychological penetration. In his portraits of royal children he maintained, albeit with a certain rigidity, the charm that S?nchez Coello in his paintings had given these infant figures tightly swathed in official robes






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