(Russian,1801 - 3 August 1859) was a Russian painter. Early in his career he painted icons with his brother; he then traveled to St. Petersburg to study at the Academy, where he took lessons with Alexey Venetsianov. From 1836 he was a pupil of Karl Bryullov. Tyranov chiefly painted portraits and genre scenes; he exhibited at a number of venues in the city throughout the 1830s and 40s.  Related Paintings of Alexey Tyranov :. | Portrait of an Italian Woman. | View on the Hermitage Library | In the Rooms | In the Rooms | Studio of the Artists N. and G. Tchernetsovs |
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MASSYS, Quentin
Flemish Northern Renaissance Painter, ca.1465-1530 Quentin Massys, also spelled Matsys or Metsys, was born in Louvain, the son of a blacksmith. He is traditionally thought to have been trained in that craft by his father. Art in Louvain while Massys was growing up was dominated by Dirk Bouts. Massys became a member of the painters' guild in Antwerp in 1491 and died there in 1530. He represented a current of painting that flourished in Antwerp at this time of its sudden new prosperity. Erwin Panofsky (1953) described this trend, "archaism of around 1500," as "a prelude to, in fact a fact of, the Renaissance in Netherlandish painting," which prevailed in the southern Netherlands. The monumental Enthroned Madonna (Brussels), an early work by Massys, has features recalling both Robert Campin and Jan van Eyck. The central panel of Massys' imposing St. Anne Altarpiece, or the Holy Kinship (Brussels), which was commissioned for the church of St-Pierre in Louvain in 1507 and signed and dated 1509, has a prototype in the Holy Kinship of Geertgen tot Sint Jans. Even the physical types and costumes in Massys' version refer to Geertgen's. But Massys placed his rhythmically balanced figure groups in a domed, arcaded loggia that in architectural style appears to be reaching for a Renaissance vocabulary it cannot quite attain; certainly the architecture evokes a later period than that represented by the Gothic throne of the Enthroned Madonna. The calm and restraint of the St. Anne Altarpiece are replaced by heightened emotional expression in the next important painting by Massys that can be firmly dated, the Deposition triptych (Antwerp). This was commissioned in 1508 by the guild of joiners in Antwerp for their chapel in the Cathedral; Massys completed the composition in 1511. It was inspired by Rogier van der Weyden's great Deposition, which was in the church of St-Pierre in Louvain in Massys' time, and also quotes from Rogier's Entombment. Massys painted genre subjects, possibly with emblematic meaning, such as A Money Changer and His Wife, which belonged to a Netherlandish tradition that maintained its popularity right through the 17th century. In portraiture he made significant contributions. His pair of portraits of Erasmus and Petrus Aegidius, painted in 1517 for Sir Thomas More, set the pattern for representations of the scholar in his study.
Giovanni Camillo Sagrestani
(1660-1731) was an Italian painter of the Baroque era. A native of Florence, he was a follower of the style of Carlo Cignani. His major pupil was Matteo Bonechi (1672-1726) and Giovanni Battista Ranieri del Pace. Four canvases attributed to Sagrestani can be found in the church of Santa Maria della Fraternite in Foiano della Chiana. He also executed works in the church of San Frediano in Cestello, in the Oltrarno district of Florence. Paintings in the church of SS. Annunziata in San Giovanni Valdarno are attributed to Sagrestani. An Assumption of the Virgin is found in Nancy.
PATER, Jean Baptiste Joseph
French Rococo Era Painter, 1695-1736