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The Roman Potters in Britain (mk23)
new7/Alma-Tadema, Sir Lawrence-738959.jpg
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The_Roman_Potters_in_Britain_(mk23)
1884
Oil on canvas(sut and repainted),76.2 x 119.4 cm(30 x 47 in)
Royal Collections,The Hague
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A Romano-British Potter (mk23)
new7/Alma-Tadema, Sir Lawrence-845346.jpg
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A_Romano-British_Potter_(mk23)
1884
Oil on canvas(cut and repainted)
152.5 x 80 cm(60 x 31 1/2 in)
Musee d'Orasy,Paris
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The Triumph of Titus: AD 71 (mk23)
new7/Alma-Tadema, Sir Lawrence-373322.jpg
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The_Triumph_of_Titus:_AD_71_(mk23)
1885
Oil on wood,44.3 x 29.1 cm(17 1/2 x 11 1/2 in)
Walters Art Gallery,Baltimore
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A Reading from Homer (mk23)
new7/Alma-Tadema, Sir Lawrence-694576.jpg
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A_Reading_from_Homer_(mk23)
1885
Oil on canvas,91.4 x 183.8 cm(36 x 72 in)
Philadelphia Museum of Art George W.Elkins Collection
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Portrait of Maurice Sons (mk23)
new7/Alma-Tadema, Sir Lawrence-337947.jpg
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Portrait_of_Maurice_Sons_(mk23)
1896
Oil on canvas,50.8 x 12.7 cm(20 x 5 in)
Private collection
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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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