Albrecht Durer
b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since. Related Paintings of Albrecht Durer :. | Adam and Eve | Emperor Maximilian | Linden Tree on a Bastion | Hercules Killing the Molionides | Portrait of a Young Man | Related Artists: Sofonisba Anguisciola1532?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. maria rohlMaria Christina Röhl, född i Stockholm den 26 juli 1801, död i Klara församling, Stockholm den 5 juli 1875, var en svensk porträttmålare som avbildade ett flertal samtida kända personer. Medlem i konstakademien (1843) och hovleverantör. Hennes tavlor hänger bland annat på Nationalmuseum i Stockholm. En samling av 1800 porträtt finns på Kungliga Biblioteket.
Maria Röhl växte upp i en rik familj, men då hon blev föräldralös 1822 drabbades hon av fattigdom. Hon tänkte först bli guvernant, men professorn och kopparstickaren Christian Forsell undervisade henne då i teckning; hon hade redan tidigare undervisats av målaren Alexander Hambr??, och fick nu lära sig att utföra snabba och realistiska porträtt i blyerts; hon arbetade i blyerts och krita i svartvitt.
Hon bodde hos familjen Forsell, där hon först avbildade familjens vänner och sedan, då det hade blivit modernt att låta avbilda sig av "mamsell Röhl", försörjde hon sig på detta i trettio år. Hon utnämndes till kunglig hovmålare 1843, studerade 1843-1846 under Leon Cogniet vid Franska konstakademien i Paris och hade sedan en atelj?? i Brunkebergs hotell i Stockholm. Fotografikonsten blev en svår konkurrent under hennes sista år. Även systern Eva Röhl (1810-96) uppges ha haft viss konstärlig begåvning. Giovanni Battista TiepoloItalian Rococo Era Painter, 1696-1770
Giovanni Battista Tiepolo was born in Venice on March 5, 1696. His father, who was part owner of a ship, died when Tiepolo was scarcely a year old, but the family was left in comfortable circumstances. As a youth, he was apprenticed to Gregorio Lazzarini, a mediocre but fashionable painter known for his elaborately theatrical, rather grandiose compositions.
Tiepolo soon evolved a more spirited style of his own. By the time he was 20, he had exhibited his work independently, and won plaudits, at an exhibition held at the church of S. Rocco. The next year he became a member of the Fraglia, or painters guild. In 1719 he married Cecilia Guardi, whose brother Francesco was to become famous as a painter of the Venetian scene. They had nine children, among them Giovanni Domenico and Lorenzo Baldassare, who were also painters.
In the 1720s Tiepolo carried out many large-scale commissions on the northern Italian mainland. Of these the most important is the cycle of Old Testament scenes done for the patriarch of Aquileia, Daniele Dolfin, in the new Archbishop Palace at Udine. Here Tiepolo abandoned the dark hues that had characterized his early style and turned instead to the bright, sparkling colors that were to make him famous.
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