1718--93 Swedish painter and pastellist, active in Germany and France. He trained with Lars Ehrenbill (1697-1747), a draughtsman employed by the Admiralty in Malmö, and in Stockholm under Georg Engelhardt Schräder (1684-1750), a portrait painter working in the tradition of Hyacinthe Rigaud and Nicolas de Largillierre. In 1741 Roslin moved to Göteborg, but the following year he returned to Malmö, where he executed devotional works for the parish church of Hasslöv, Halland, and began establishing himself as a portrait painter.   Related Paintings of Alexander Roslin :. | Double portrait, Architect Jean-Rodolphe Perronet with his Wife | marie suzanne roslin | Recreation by our Gallery | Portrait of Ivan Ivanovich Betskoi (1704-1795) | greve fredrik sparre |
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Pontormo, Jacopo
b Pontormo, nr Empoli, 26 May 1494; d Florence, 31 Dec 1556). Italian painter and draughtsman. He was the leading painter in mid-16th-century Florence and one of the most original and extraordinary of Mannerist artists. His eccentric personality, solitary and slow working habits and capricious attitude towards his patrons are described by Vasari; his own diary, which covers the years 1554-6, further reveals a character with neurotic and secretive aspects. Pontormo enjoyed the protection of the Medici family throughout his career but, unlike Agnolo Bronzino and Giorgio Vasari, did not become court painter. His subjective portrait style did not lend itself to the state portrait. He produced few mythological works and after 1540 devoted himself almost exclusively to religious subjects. His drawings, mainly figure studies in red and black chalk, are among the highest expressions of the great Florentine tradition of draughtsmanship; close to 400 survive, forming arguably the most important body of drawings by a Mannerist painter. His highly personal style was much influenced by Michelangelo
Jose Ferraz de Almeida Junior
(8 May 1850 - 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira violeiro , the countrymen that are a kind of a symbol of the rural areas of the São Paulo state. While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiete River. Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters. In 1877 he was already enrolled in the School of Fine Arts in Paris. He took part at the Salon de Paris with several works of art in 1879 (Retrato do Dr. Jose de Magalhães), 1880 (O Derrubador Brasileiro) and (Remorso de Judas), 1881 (Fuga para o Egito) and 1882 (Descanso do Modelo) He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting. He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.
CARIANI
Italian Painter, ca.1490-1547 was an Italian painter of the high-Renaissance, active in Venice and the Venetian mainland, including Bergamo, thought to be his native city. His father, also Giovanni Busi, was born in Fuipiano Valle Imagna and was appointed a local magistrate for the Venetian authorities. His son, probably born in Bergamo, is known to have lived in Venice starting in 1509, and may have trained with either Giovanni Bellini or Giorgione, and almost certainly was influenced by them. Though he worked often in Bergamo, he died in Venice in 1547. He was strongly influenced by Palma il Vecchio, but had a provincial love of scenery as seen in his Sacra conversazione with a youthful donor. While working in Bergamo (1517-1523),