All Alma-Tadema, Sir Lawrence Oil Paintings

b.Jan. 8, 1836, Dronrijp, Netherlands. d.June 25, 1912, Wiesbaden, Germany. Painter and designer of Dutch birth. The son of a notary, Alma-Tadema demonstrated an early artistic ability. In 1852 he entered the Antwerp Academy, where he studied under Gustaf, Baron Wappers, and Nicaise de Keyser. An important influence at this time was Louis De Taye, Professor of Archaeology at the academy and a practising artist. Alma-Tadema lived and worked with De Taye from 1857 to 1859 and was encouraged by him to depict subjects from the early history of France and Belgium. This taste for historical themes increased when Alma-Tadema entered Baron Henri Leys studio in 1859 and began assisting him with his monumental frescoes for the Antwerp Town Hall. While in Leys studio, Alma-Tadema produced several major paintings, for example the Education of the Children of Clovis (1861; ex-Sir John Pender priv. col., see Zimmern, p. 3) and Venantius Fortunatus Reading his Poems to Radagonda (1862; Dordrecht, Dordrechts Mus.), which are characterized by their obscure Merovingian subject-matter, rather sombre colouring and close attention to detail.
 
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Alma-Tadema, Sir Lawrence Vdenantius Fortunatus Reading his Poems to Radegonda VI AD 555 (mk23) oil on canvas


Vdenantius Fortunatus Reading his Poems to Radegonda VI AD 555 (mk23)
Vdenantius Fortunatus Reading his Poems to Radegonda VI AD 555 (mk23)
Painting ID::  22885 		  1862 Oil on canvas,65 x 83.1 cm(25 5/8 x 32 3/4 in) Dordrechts Museum,Dordrecht
  1862 Oil on canvas,65 x 83.1 cm(25 5/8 x 32 3/4 in) Dordrechts Museum,Dordrecht

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Alma-Tadema, Sir Lawrence Fredegonda and Galswintha AD 566 (mk23) oil on canvas


Fredegonda and Galswintha AD 566 (mk23)
Fredegonda and Galswintha AD 566 (mk23)
Painting ID::  22886 		  1878 Oil on canvas,139.8 x 129 cm(55 x 50 3/4 in) Gemaldegalerie der Akademie der Bildenden Kunste,Vienna
  1878 Oil on canvas,139.8 x 129 cm(55 x 50 3/4 in) Gemaldegalerie der Akademie der Bildenden Kunste,Vienna

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Alma-Tadema, Sir Lawrence My Studio (mk23) oil on canvas


My Studio (mk23)
My Studio (mk23)
Painting ID::  22887 		  1867 Oil on wood,42.1 x 54 cm(16 5/8 x 21 1/4 in) Groninger Museum,Groningen
  1867 Oil on wood,42.1 x 54 cm(16 5/8 x 21 1/4 in) Groninger Museum,Groningen

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Alma-Tadema, Sir Lawrence Leaving Church in the Fifteenth Century (mk23) oil on canvas


Leaving Church in the Fifteenth Century (mk23)
Leaving Church in the Fifteenth Century (mk23)
Painting ID::  22888 		  1864 Oil on canvas,57.1 x 39.4 cm(22 1/2 x 15 1/2 in) Private collection
  1864 Oil on canvas,57.1 x 39.4 cm(22 1/2 x 15 1/2 in) Private collection

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Alma-Tadema, Sir Lawrence Interior of the Church of San Clemente (mk23) oil on canvas


Interior of the Church of San Clemente (mk23)
Interior of the Church of San Clemente (mk23)
Painting ID::  22889 		  Rome 1863 Oil on canvas,63.5 x 51 cm(25 x 20 1/8 in) Fries Museum,Leeuwarden
  Rome 1863 Oil on canvas,63.5 x 51 cm(25 x 20 1/8 in) Fries Museum,Leeuwarden

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     Alma-Tadema, Sir Lawrence
     b.Jan. 8, 1836, Dronrijp, Netherlands. d.June 25, 1912, Wiesbaden, Germany. Painter and designer of Dutch birth. The son of a notary, Alma-Tadema demonstrated an early artistic ability. In 1852 he entered the Antwerp Academy, where he studied under Gustaf, Baron Wappers, and Nicaise de Keyser. An important influence at this time was Louis De Taye, Professor of Archaeology at the academy and a practising artist. Alma-Tadema lived and worked with De Taye from 1857 to 1859 and was encouraged by him to depict subjects from the early history of France and Belgium. This taste for historical themes increased when Alma-Tadema entered Baron Henri Leys studio in 1859 and began assisting him with his monumental frescoes for the Antwerp Town Hall. While in Leys studio, Alma-Tadema produced several major paintings, for example the Education of the Children of Clovis (1861; ex-Sir John Pender priv. col., see Zimmern, p. 3) and Venantius Fortunatus Reading his Poems to Radagonda (1862; Dordrecht, Dordrechts Mus.), which are characterized by their obscure Merovingian subject-matter, rather sombre colouring and close attention to detail.

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