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Blake and the Visionary Painters
The concept of existential loneliness that emerged with Romanticism
signalled the end of the Utopian ideals of the Enlightenment. At the
same time, the artists' vision broadened in their attempt to paint
"that which is not seen". Figures became less heavy and more
immaterial, less concrete and defined, in contrast to the precision
of Neoclassicism. Figures no longer portrayed only beauty, but were
moulded by the energies of the human soul, sometimes distorted or
uneasy, often disorderly and impulsive. Artists were invested with a
new responsibility, almost as the re-creators of a lost paradise,
imparting a divine message that could only be revealed through the
medium of art. William Blake
(1757-1827), the visionary and
prophetic poet and artist, proclaimed: "The man who raises himself
above all is the artist; the prophet is he who is gifted with
imagination". The Swiss-born
Henry Fuseli, after settling in
England, transformed the graceful, symbolic fauna of Neoclassicism,
such as butterflies and horses, into strange, ambiguous monsters of
the imagination. The dream, with all its irrational implications,
became the realm of fantasy,
terrifying images, and erotic temptations. His contemporary, the
Irish historical painter James Barry (1741-1806) was, according to
Blake, misunderstood and unappreciated by the art world. Affirming
his strong belief in his own greatness.
Barry portrayed himself in
Self-Portrait, wearing the garments of the Greek painter Timantes.
For William Blake, "the world of the imagination is the world of
eternity", where truth and illusion, experience and fantasy, the
real world and the supernatural, have no dividing line. To
Blake, if
"the doors of perception were cleansed, everything would appear to
man as it is. infinite." Blake, along with exploring the
spiritualism of biblical subjects, also sought a common, unifying
cosmology to all mythology - classical, Nordic, Semitic, and
Oriental. In reviving the form of the medieval miniature, Blake
devised a new technique to blend the meaning of the text with the
style in which it is presented, synthesizing narrative and
decoration. His figures retained a classical beauty and purity of
line that approached those of the Danish-born German painter and
draughtsman Jakob Carstens (1754-98). The German artist
Philipp Otto
Runge (1777-1810) took refuge in the myth of childhood, which he
idealized as a beautiful, happy time in which love remained pure and
innocent. He often used the stability of the family in his work as a
mirror of the entire range of human relationships. In his series Die Tageszeiten ("The Times of the Day") begun in about 1796.
Runge
aimed to extend such harmony to the whole universe. This ambitious
project depicts nature with allegorical personages that allude to
human destiny and have some religious and political significance. A
chapel was to have housed the work, which, combined with music and
poetry, prefigured Wagner's dream of Gesamtkunstwerk - a total
expression of words, music, and theatre.
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Philipp Otto Runge
The Small Morning
1809-10
Oil on canvas, 109 x 86 cm
Kunsthalle, Hamburg
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William Blake
Isaac Newton
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William Blake
(Encyclopaedia Britannica)
born Nov. 28, 1757, London
died Aug. 12, 1827, London
English poet, painter (see ), engraver, and visionary mystic whose
hand-illustrated series of lyrical and epic poems, beginning with
Songs of Innocence (1789) and Songs of Experience (1794), form one
of the most strikingly original and independent bodies of work in
the Western cultural tradition. Blake is now regarded as one of the
earliest and greatest figures of Romanticism. Yet he was ignored by
the public of his day and was called mad because he was
single-minded and unworldly; he lived on the edge of poverty and
died in neglect.
Education and early career.
Blake was the second of five children; his father was a hosier.
William grew up in London and later described the visionary
experiences he had as a child in the surrounding countryside, when
he saw angels in a tree at Peckham Rye and the prophet Ezekiel in a
field. He wanted to be an artist and in 1767, at age 10, started to
attend the drawing school of Henry Pars in the Strand. He educated
himself by wide reading and the study of engravings from paintings
by the great Renaissance masters. In 1772 he was apprenticed to an
engraver, James Basire, who taught him his craft very thoroughly.
Basire sent him to make drawings of the sculptures in Westminster
Abbey, and thus awakened his interest in Gothic art.
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William Blake
God as an Architect
illustration from The Ancient of Days
1794
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On completion of his apprenticeship in 1779 Blake entered the Royal
Academy as an engraving student. His period of study there seems to
have been stormy. He took a violent dislike to Sir Joshua Reynolds,
then president of the Royal Academy, and felt that his talents were
being wasted. While still at the Academy he was earning his living
by engraving for publishers and was also producing independent
watercolours. At this time his friends included a group of brilliant
young artists, among them the sculptor John Flaxman and the painter
Thomas Stothard. He also came into contact with the painter Henry
Fuseli.
On Aug. 18, 1782, Blake married a poor, illiterate girl, Catherine
Boucher, who was to make a perfect companion for him. Flaxman
introduced him to the Rev. Anthony S. Mathew and his wife, and for a
time Blake was one of the chief attractions at their literary
parties. Flaxman and Mathew paid for the printing of a collection of
verses by the iryoung friend, Poetical Sketches. By W.B. (1783). A
preface provides the information that the verses were written
between Blake's 12th and 20th years. This is a remarkable first
volume of poetry, and some of the poems contained in it have a
freshness, a purity of vision, and a lyric intensity unequaled in
English poetry since the 17th century.
Blake's visits to the Mathews' eventually became less frequent and
finally ceased. Nevertheless, in the 1780s he was one of a group of
progressive-minded people that met at the house of Blake's employer,
the Radical bookseller Joseph Johnson. In about 1787 he wrote the
fragment of a prose fantasy called An Island in the Moon, in which
members of this group are satirized. In 1784, after his father's
death, Blake started a print shop in London and tookhis younger
brother Robert to live with him as assistant and pupil. Early in
1787 Robert fell ill and in February he died; and William, who had
nursed him devotedly, later said that he had seen Robert's soul
joyfully rising through the ceiling. He also said that Robert had
appeared to him in a vision and revealed a method of engraving the
text and illustrations of his books without having recourse to a
printer. This method was Blake's invention of what he called
“illuminated printing,” in which, by a special technique of relief
etching, each page of the book was printed in monochrome from an
engraved plate containing both text and illustration: an invention
foreshadowed by his friend, George Cumberland. The pages were then
usually coloured with watercolour or printed in colour by Blake and
his wife, bound together in paper covers, and sold for prices
ranging from a few shillings to 10 guineas. Most of Blake's works
after the Poetical Sketches were engraved and “published” in this
way, and so reached only a limited public during his lifetime; today
these “illuminated books,” with their dynamic designs and glowing
colours, are among the world's art treasures.
The first books in which Blake made use of his new printing method
were two little tracts, There is No Natural Religion and All
Religions are One, engraved about 1788. They contain the seeds of
practically all the subsequent development of his thought. In them
he boldly challenges accepted contemporary theories of the human
mind derived from Locke and the prevailing
rationalistic-materialistic philosophy and proclaims the superiority
of the imagination over other “organs of perception,” since it is
the means of perceiving “the Infinite,” or God. Immediately
following these tracts came Blake's first masterpieces, in an
astonishing outburst of creative activity: Songs of Innocenceand
The Book of Thel (both engraved 1789), The French Revolution
(1791), The Marriage of Heaven and Hell and Visions of the Daughters
of Albion (both engraved 1793), and Songs of Innocence and
Experience (1794). The production of these works coincided with the
outbreak of the French Revolution, of which Blake, like the other
members of the group that met at Johnson's shop, was at first an
enthusiastic supporter. Blake significantly differed from other
English revolutionaries, however, in his hatred of deism, atheism,
and materialism, and his profound, though un dogmatic, religious
sense.
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William Blake
Songs of Innocence
(Title page)
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Songs of Innocence and Experience.
Songs of Innocence is Blake's first masterpiece of “illuminated
printing.” In it the fragile and flowerlike beauty of the lyrics
harmonizes with the delicacy and rhythmical subtlety of the designs.
Songs of Innocence differs radically from the rather derivative
pastoral mode of the Poetical Sketches; in the Songs, Blake took as
his models the popular street ballads and rhymes for children of his
own time, transmuting these forms by his genius into some of
the purest lyric poetry in the English language.
In 1794 he finished a slightly rearranged version of Songs of
Innocence with the addition of Songs of Experience; the double
collection, in Blake's own words in the subtitle, “shewing the two
contrary states of the human soul.” The “two contrary states” are
innocence, when the child's imagination has simply the function of
completing its own growth; and experience, when it is faced with the
world of law, morality, and repression. Songs of Experience provides
a kind of ironic answer to Songs of Innocence. The earlier
collection's celebration of a beneficent God is countered by the
image of him in Experience, in which he becomes the tyrannous God of
repression. The key symbol of Innocence is the Lamb; the
corresponding image in Experience is the Tyger, the subject of the
famous poem that stands at the peak of Blake's lyrical achievement:
Tyger! Tyger! burning bright
In the forests of the night;
What immortal hand or eye
Could frame thy fearful symmetry?
The Tyger in this poem is the incarnation of energy, strength, lust,
and cruelty, and the tragic dilemma of mankind is poignantly
summarized in the final question, “Did he who made the Lamb make
thee?” Blake also viewed the larger society, in the form of
contemporary London, with agonized doubt in Experience, in contrast
to his happy visions of the city in Innocence. The great poem
“London” in Experience is an especially powerful indictment of the
new “acquisitive society” then coming into being, and the poem's
naked simplicity of language is the perfect medium for conveying
Blake's anguished vision of a society dominated by money.
Early narrative poems.
Blake was experimenting in narrative as well as lyrical poetry at
this time. Tiriel, a first attempt, was never engraved. The Book
of Thel, with its lovely flowing designs, is an idyll akin to
Songs of Innocence in its flowerlike delicacy and transparency. In
Tiriel and The Book of Thel Blake uses for the first time the
long unrhymed line of 14 syllables, which was to become the staple
metre of his narrative poetry. The fragment called The French
Revolution is a heroic attempt to make epic poetry out of
contemporary history. In The Marriage of Heaven and Hell satire,
prophecy,humour, poetry, and philosophy are mingled in a way that
has few parallels. Written mainly in terse, sinewy prose, it may be
described as a satire on institutional religion and conventional
morality. In it Blake defines the ideal use of sensuality: “If the
doors of perception were cleansed every thing would appear to man as
it is, infinite.” Blake reverses the tenets of conventional
Christianity, equating the good with reason and repression and
regarding evil as the natural expression of a fundamental psychic
energy. The book includes a famous criticism of Milton and the
“Proverbs of Hell,” 70 pithy aphorisms that are notable for their
praise of heroic energy and their sense of creative vitality. The
Marriage culminates in the “Song of Liberty,” a hymn of faithin
revolution, ending with the affirmation that “everything that lives
is Holy.” In Visions of the Daughters of Albion Blake develops the
theme of sexual freedom suggested in several of the Songs of
Experience. The central figure in the poem, Oothoon, finds that she
has attained to a new purity through sexual delight and
regeneration. In this poem the repressive god of abstract morality
is first called Urizen.
Lambeth.
All Blake's works of the revolutionary period were produced at a
house in Soho in London, where he and his wife went to live shortly
after Robert's death. In 1793 they moved south of the Thames to
Lambeth. They lived there for seven years, and this, the period of
Blake's greatest worldly prosperity, was also that of his deepest
spiritual uncertainty. Blake's poetry of this period appears in the
so-called “Prophetic books”: America, A Prophecy (1793),
Europe, A Prophecy (1794), The Book of Urizen (1794), and
The Book of Ahania,
The Book of Los, and The Song of Los (all 1795). In these works
Blake elaborates a series of cosmic myths and epics through which he
sets forth a complex and intricate philosophical scheme. A principal
symbolic figure in these books is Urizen, a spurned and outcast
immortal who embodies both Jehovah and the forces of reason and law
thatBlake viewed as restricting and suppressing the natural energies
of the human soul.
The Prophetic books describe a series of epic battles fought out in
the cosmos, in history, and in the human soul, betweenentities
symbolizing the conflicting forces of reason (Urizen),imagination
(Los), and the spirit of rebellion (Orc). America, illustrated with
brilliantly coloured designs, is a powerful short narrative poem
giving a visionary interpretation of the American Revolution as the
uprising of Orc, the spirit of rebellion. Europe shows the coming of
Christ and the French Revolution of the late 18th century as part of
the same manifestation of the spirit of rebellion. The Book of
Urizen is Blake's version—or parody—of the biblical Book of Genesis.
Here the Creator is not a beneficent, righteous Jehovah, but Urizen,
a “dark power” whose rebellion against the primeval unity leads to
his entrapment in the material world. The poetry of The Book of
Urizen, written in short unrhymed lines of three accents, has a
gloomy power, but is inferior in effect to the magnificent
accompanying designs, which have an energy and monumental grandeur
anticipating the quality of those of Jerusalem, Blake's most
splendid illuminated book. Blake's saga of myths is continued in The
Book of Ahania, a kind of Exodus following the Genesis of Urizen,
and in The Book of Los. In The Song of Los Blake returns to the
cosmic theme and brings the story of humanity down to his own time.
By this time Blake seems to have reached his spiritual nadir, and
his poetry peters out in the last of the Prophetic books. He had
lost faith in the French Revolution as an apocalyptic and
regenerating force, and was finding his attempt at a synthesis based
on the “contraries” of good andevil inadequate as an answer to the
complexities of human existence.
Major epics.
With The Song of Los the experimental period of his poetic career
ended: he engraved no more books for nearly 10 years. In 1795 he had
been commissioned by a bookseller to make designs for an edition of
Edward Young's Night Thoughts. He worked on this until 1797,
producing 537 watercolour drawings. It seems to have been while he
was working on these illustrations that a fresh creative impulse led
to the beginning of his first full-scale epic poem. The first draft
of the epic, called Vala, was begun in 1795. He worked on it for
about nine years, during which period he rewrote it under the title
of The Four Zoas, but never engraved it. It remains a magnificent
torso, but the quality of this work's poetry and its thought are
obscured by its overly complicated mythological scheme. In spite of
the grandeur of individual passages and of the major conception, The
FourZoas remains fragmentary and lacking in coherence. It provided
the materials out of which Blake constructed his later epics, Milton
and Jerusalem.
In 1800, at the invitation of William Hayley, a Sussex squire, Blake
and his wife went to live in a cottage provided by Hayley at Felpham
on the Sussex coast. This well-meaning, obtuse dilettante, who had
employed Blake to make engravings, regarded his imaginative works
with contempt and tried to turn him into a miniature painter and
tame poet on his estate. At first Blake was delighted with life in
Sussex, but he soon found the patronizing Hayley intolerable. The
cottage was damp and Mrs. Blake's health suffered, and in 1803 the
Blakes returned to London. Toward the end of his stay at Felpham,
Blake was accused by a soldier called Schofield of having uttered
seditious words when he had ejected him from his cottage garden. He
was tried at the quarter sessions at Chichester, denied the charges,
and was acquitted. Hayley gave bail for Blake and employed counsel
to defend him. This experience became part of the mythology
underlying Jerusalem and Milton.
It was also probably at Felpham that Blake wrote the most notable of
his later lyrical poems, including “Auguries of Innocence,” with its
memorable opening stanza:
To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.
It was at Felpham, too, that he wrote some of his finest letters,
many of them addressed to Thomas Butts, a government clerk who was
for years a generous and loyal supporter and patron of Blake and who
commissioned almost his total output of paintings and watercolours
at this period.
In 1804–08 Blake engraved Milton. This poem is a comparatively brief
epic which deals with a contest between the hero (Milton) and Satan;
it too is couched in the propheticgrandeur and obscurity of Blake's
invented mythology. Milton's struggle with evil in the poem is a
reflection of Blake's own conflicts with the domineering patronage
of William Hayley.
Jerusalem is Blake's third major epic and his longest poem. Begun
about 1804, and written and engraved soon after the completion of
Milton, it is also the most richly decorated of Blake's illuminated
books, and only a few of its 100 plates are without illustration.
Although the details are complex and present many difficulties, the
poem's main outlines are simple. At the opening of the poem the
giant Albion (who represents both England and humanity) is shown
plunged into the “Sleep of Ulro,” or the hell of abstract
materialism. The core of the poem describes his awakening and
regeneration through the agency of Los, the archetypal craftsman or
creative man. The poem's consummation is the reunion of Albion with
Jerusalem (his lost soul) and with God through his acceptance of
Jesus' doctrine of universal brotherhood.
Last years.
Blake's life during the period from 1803 to about 1820 was one of
worldly failure. He found it difficult to get work, and the
engravings that can be identified as his from this period are often
hack jobs. In 1809 he made a last effort to put his work before the
public and held an exhibition of 16 paintings and watercolour
drawings. He wrote a thoughtful Descriptive Catalogue for the
exhibition, but only a few people attended.But after this long
period of obscurity, Blake found in 1819 anew and generous patron in
the painter John Linnell, who introduced him to a group of young
artists among whom was Samuel Palmer. In his last years Blake became
the centre ofthis group, whose members shared Blake's religious
seriousness and revered him as their master.
The most notable poetry Blake wrote after Jerusalem is to be found
in The Everlasting Gospel (1818?), a fragmentary and unfinished work
containing a challenging reinterpretation of the character and
teaching of Christ. But Blake's last years were devoted mainly to
pictorial art. In 1821 Linnell commissioned him to make a series of
22 watercolours inspired by the Book of Job; these include someof
his best known pictures. Linnell also commissioned Blake's designs
for Dante's Divine Comedy, begun in 1825 and left unfinished at his
death. These consist of 102 watercolours notable for their brilliant
colour. Blake thus found in his 60s a following and support for the
imaginative work he had longed to do all his life. As a result, it
was in his last years that he produced his most technically assured
andbeautiful designs. Toward the end of his life Blake still
coloured copies of his books while resting in bed, and that is how
he died in a room off the Strand in his 70th year. He was buried in
an unmarked grave in Bunhill Fields.
Pictorial work.
In his painting, as in his poetry, Blake seemed to most of his
contemporaries to be completely out of the artistic mainstream of
their time. But his paintings belong to a recognizable artistic
tradition, that of English figurative painting of the later 18th
century. Blake was initially influenced by the engravings he studied
of the works of Michelangelo and Raphael. He then became deeply
impressed with the work of such contemporary figurative painters as
James Barry, John Mortimer, and Henry Fuseli, who, like Blake,
depicted dramatically posed nude figures with strongly rhythmic,
linear contours. Fuseli's extravagant pictorial fantasies in
particular freed Blake to distort his figures to express his inner
vision.
Throughout his life Blake stressed the preeminence of line, or
drawing, over colour, commending the “hard wirey line of rectitude.”
He condemned everything that he felt made painting indefinite in
contour, such as painterly brushwork and shadowing. Finally, Blake
stressed the primacy of art created from the imagination over that
drawn from the observation of nature.
The figures in Blake's many prints and watercolour and tempera
paintings are notable for the rhythmic vitality of their undulating
contours, the monumental simplicity of theirstylized forms, and the
dramatic effectiveness and originality of their gestures. Blake's
favourite subjects wereepisodes from the Bible, along with episodes
found in the works of Milton and Dante. He also showed himself a
daring and unusually subtle colourist in many of his works. His
illustrations for the Book of Job were done late in life, and they
mark the summit of his achievement in the visual arts.
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 William Blake
The Book of Job
(Title page)
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see:
"The Book of
Job" by
William Blake
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The Book of Job
book of Hebrew scripture that is often counted among the
masterpieces of world literature. It is found in the third section
of the biblical canon known as the Ketuvim (“Writings”). The book's
theme is the eternal problem of unmerited suffering, and it is named
after its central character, Job, who attempts to understand the
sufferings that engulf him.
The Book of Job may be divided into two sections of prose narrative,
consisting of a prologue (chapters 1–2) and an epilogue (chapter
42:7–17), and intervening poetic disputation (chapters 3–42:6). The
prose narratives date to before the 6th century BCE, and the poetry
has been dated between the 6th and the 4th century BCE. Chapters 28
and 32–37 were probably later additions.
The Book of Job's artful construction accounts for much of its
impact. The poetic disputations are set within the prose framework
of an ancient legend that originated outside Israel. This legend
concerns Job, a prosperous man of outstanding piety. Satan acts as
an agent provocateur to test whether or not Job's piety is rooted
merely in his prosperity. But faced with the appalling loss of his
possessions, his children, and finally his own health, Job still
refuses to curse God. Three of his friends then arrive to comfort
him, and at this point the poetic dialogue begins. The poetic
discourses—which probe the meaning of Job's sufferings and the
manner in which he should respond—consist of three cycles of
speeches that contain Job's disputes with his three friends and his
conversations with God. Job proclaims his innocence and the
injustice of hissuffering, while his “comforters” argue that Job is
being punished for his sins. Job, convinced of his faithfulness and
uprighteousness, is not satisfied with this explanation. The
conversation between Job and God resolves the dramatic tension—but
without solving the problem of undeserved suffering. The speeches
evoke Job's trust in the purposeful activity of God in the affairs
of the world, even though God's ways with man remain mysterious and
inscrutable.
(Encyclopaedia Britannica)
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__________
__________
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THE APOCALYPTIC FORCES OF NATURE
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Karl Brullov
Last Days of Pompeii
1830-1833
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Henry Fuseli
Satan Calling to Beelzebub over a Sea of Fire
1802
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Nature, to the Romantics, ceased to be a mere backdrop to human
affairs and became a living organism that was both extreme and
multi-dimensional. It no longer bore the intentionally reassuring
characteristics of Arcadia, but expressed itself through hurricanes,
raging fires, and earthquakes.
The Last Days of Pompeii by the Russian artist
Karl Pavlovitch
Brullov (1799-1852) shows in lurid colours the horror of that
fateful day. The outstretched arms, the heads bent back to look at
the threatening sky, and other gestures show the sense of terror
among the figures. These expressions conform to the classical
vocabulary introduced in the Stanze, the series of rooms in the
Vatican that Raphael decorated for Julius II and Leo X. Elsewhere,
the same theme of horror and cataclysm was developed in a decidedly
anti-classical sense. John Martin ( 1789-1854) was one of the more
visionary English painters of the 18th century. His unusual effects
of light and the contrasts between a dramatically apocalyptic
landscape and tiny figures create an almost supernatural effect. He
drew on biblical and Oriental themes, for example, the canvas of
Sadak Looking for the Waters of Oblivion (1812), taken from
Persian legend, and The Fall of Baylon (1819), which is painted in
the same grandiose manner. Martin was famous throughout Europe and
appealed particularly to French writers such as Huysmans, Sainte-Beuve,
Victor Hugo, and Theophile Gamier.
Henry Fuseli, in his painting
Satan Calling to Beelzebub over a Sea of Fire, advanced even further
towards the abyss: the main figure is both majestic and sinister,
while the figure rising from the depths with its indistinct
features, seems to bring to life the monstrous forms of the human
soul.
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John Martin
Sadak Looking for the Waters of Oblivion
1812 |
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SLEEP AND REASON
Fuseli's The Nightmare is an enigmatic image that transcends reason,
while Goya's The Sleep of Reason Produces Monsters is an allegory of
the irrational tears that lie behind rational thought. Both
illustrate sleep and dream-states, and explore how illusion and
fantasy are inextricably bound up with reason.
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Henry Fuseli
The Nightmare
1791 |
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Henry Fuseli
Self-Portrait
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Henry Fuseli
(Encyclopaedia Britannica)
born Feb. 7, 1741, Zürich, Switz.
died April 16, 1825, Putney Hill, London, Eng.
original name Johann Heinrich Füssli Swiss-born painter whose works
are among the most exotic, original, and sensual pieces of his time.
Fuseli was reared in an intellectual and artistic milieu and
initially studied theology. Obliged to flee Zürich because of
political entanglements, he went first to Berlin, and then settled
in London in 1764. He was encouraged to become a painter by Sir
Joshua Reynolds, and he left England in 1768 to study in Italy until
1778. During his stay in Rome he studied the works of Michelangelo
and classical art, which became his major stylistic influences; his
subject matter was chiefly literary. Fuseli is famous for his
paintings and drawings of nude figures caught in strained and
violent poses suggestive of intense emotion. He also had a penchant
for inventing macabre fantasies, such as that in “The Nightmare”
(1781). He had a noticeable influence on the style of his younger
contemporary, William Blake.
In 1788 Fuseli was elected an associate of the Royal Academy,
becoming a full academician two years later. During 1799–1805 and
again from 1810 he was professor of painting at the Royal Academy.
He was appointed keeper of the Academy in 1804.
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Henry Fuseli
The Nightmare
1791
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see collections:
William Blake
see also:
"The Book of Job" by
William Blake
The Bible illustrations by
Julius von Carolsfeld,
Gustave Dore,
William Blake
Dante "The
Divine Comedy" (Illustrations by
G. Dore, W. Blake, S. Dali)
see collections:
Alexander Cozens
(from Mackworth Praed Book)
Henry Fuseli
James Barry
Philipp Otto Runge
Karl Pavlovitch
Brullov
John Martin
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