New Zealand-born Australian Painter, 1882-1939,Australian painter. The son of a Norwegian father and Irish mother, he came to Sydney from New Zealand with his family in 1883. He received his first art lessons from Julian Rossi Ashton, although for many years he had little time for painting, instead working to support his family. He finally achieved recognition as an artist around the beginning of World War I. Following successful sales he became a full-time painter, championed in Sydney as the exemplary heir to the impressionist pastoral tradition of Australian art, which had been established in the late 19th century. Between 1915 and 1920, under the influence of Max Meldrum, he focused on the landscape as seen against the light. Painting en plein air he specialized in effects of early morning, for example Morning Light (1916; Sydney, A.G. NSW), one of a series painted at Emu Plains (1915-19),   Related Paintings of Elioth Gruner :. | Tamarama Beach | Spring Frost | Tamarama Beach | Spring Frost | Summer Morning |
Related Artists:
Ludwig Passini
Austrian, 1832-1903
Eric Ravilious
British Painter, ca.1903-1942 English painter, wood-engraver and designer. He was educated at Eastbourne School of Art and then at the Royal College of Art (1922-5), where he was taught by Paul Nash and became close friends with Edward Bawden. His early works included the refectory mural (destr. 1940) in Morley College, London, and wood-engravings in the tradition of Bewick for the Golden Cockerel, Curwen and Nonesuch presses. In the 1930s he began painting larger compositions in a wider range of colour, and this led him to use lithography for such illustrations as those for High Street. Ravilious also produced designs for Wedgwood, including the celebration mug (1936) for the coronation of King Edward VIII, which was withdrawn and revised for the coronations of George VI and Elizabeth II; the Alphabet mug (1937); the Afternoon Tea (1937), Travel (1938) and Garden Implements (1939) china sets; and the Boat Race Day cup (1938). He also designed glass for Stuart Crystal (1934), furniture for Dunbar Hay (1936) and graphic work for advertisements for London Transport and others. Despite his success as a designer, Ravilious concentrated increasingly on watercolours. His landscapes and rural interiors often featured the downland and coast of southern England; haunting and lyrical, these works show a world in suspense and often feature chalk hill figures, as in Train Landscape (c. 1939; Aberdeen, A.G.) and empty rooms.
Sofonisba Anguisciola
1532?C1625, The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century.