(Milan, 1861 - 1932) was an Italian painter. Initiated into artistic studies by his father Cesare, an associate of Luigi Scrosati, and the painter Mose Bianchi from Lodi, Arturo Ferrari completed his training at the Brera Academy under the guidance of Giuseppe Bertini from 1877 to 1884 while working in the studio of Gerolamo Induno at the same time. He made his debut at the Esposizione di Belle Arti di Brera in 1879 with a view of the interior of Milan Cathedral, thus inaugurating the repertoire of Milanese perspective views that was to be a constant feature of his vast production of oil paintings and watercolours. He soon became the guiding spirit of a poetic and sentimental evocation of "Old Milan" during the phase of transition to the 20th century, when the face of the city changed radically through wholesale rebuilding. A regular participant in all the major exhibitions until 1932, the year of his death, he was the recipient of numerous marks of official recognition and enjoyed considerable success with the public as well as the esteem of conservative critics.   Related Paintings of Arturo Ferrari :. | Touch | Rinsing Linen. On the River. Study | Baptism of Christ | The Battle of Trafalgar by J. M. W. Turner | European city landscape, street landsacpe, construction, frontstore, building and architecture. 086 |
Related Artists:
SOMER, Paulus van
Flemish Baroque Era Painter, ca.1576-1621
DARET, Jacques
Netherlandish Northern Renaissance Painter, ca.1404-1470 was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil,
John O Brien Inman
American, 1828-1896