Australian Painter , 1793-1838 Nephew of Ralph Earl. He exhibited at the Royal Academy in London between 1806 and 1815, when he began travelling. He visited the Mediterranean between 1815 and 1817, and lived in North America (1818-20) and South America (1820-24). In February 1824, en route to India, he was accidentally abandoned on Tristan da Cunha for eight months. The passing ship that rescued him took him to Australia. Here he lived from 1825 until 1828, a period broken by a seven-month residence in New Zealand. During all of his voyages he made watercolour sketches, particularly of places 'hitherto unvisited by any artist', apparently with the intention of publishing a series of aquatints. These drawings, such as a Bivouac, Daybreak, on the Illawarra Mountains (1827; Canberra, N. Lib.), have a robust autobiographical quality. In Sydney he obtained a number of commissions, including a full-length portrait of Governor Sir Thomas Brisbane (1825-6; Sydney, Govt House). Earle returned to England in 1829 and produced a series of prints, Views in New South Wales, and Van Diemen's Land.   Related Paintings of Augustus Earle :. | Portrait of Bungaree, a native of New South Wales, with Fort Macquarie, Sydney Harbour, | A Bivouac of Travellers in Australia in a Cabbage Tree Forest,Day Break | Past and Present No 2 | Punishing negros at Cathabouco | Solitude, watching the horizon at sun set, in the hopes of seeing a vessel, Tristan de Acunha |
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Simone Pignoni
Simone Pignoni (April 17, 1611 - December 16, 1698) was an Italian painter of the Baroque period. He apprenticed with Fabrizio Boschi, then with the more academic and puritanical Domenico Passignano, and finally with Francesco Furini. He is best known for painting in a style reminiscent of the morbidly sensual Furini. Reflective of this obsession is his self-portrait, c. 1650, in which he depicts himself building up a plump naked female from a skeleton. The biographer Baldinucci, in what little he notes of the painter, recalls him as the scandalous imitator of (Furini's) licentious inventions. A more complete biography was recorded by his pupil Giovanni Camillo Sagrestani. Described as endowed with a bizarre and amenable intelligence, Pignoni apparently had a late-life conversion to more pious painting. There is one episode recalled that during a serious illness because in his life he had focused on studying about female forms, and (now) having resigned himself to the impending infinity, his spiritual father urged him to purge those errors with the flame, and once guided by a good disposition, he suddenly was cured by the Lord. It must be noted that Baldinucci's biography of Furini, also recorded a similar, near-death renunciation of his art of the naked figure. Among his more conventional works are a St. Agatha cured by St. Peter (attributed) in the Museo Civico di Trieste. A St. Louis providing a banquet for the poor (c. 1682) now in the church of Santa Felicita in Florence, commissioned by Conte Luigi Gucciardini. A Madonna and child in glory with archangels Saints Michael and Raphael in battle armor and San Antonio of Padua (1671) for the Cappella di San Michele in Santissima Annunziata. He painted an Allegory of Peace in Palazzo Vecchio. A Penitent Magdalen has been attributed to Pignoni is found in the Pitti Palace. In San Bartolomeo in Monteoliveto, he painted a Madonna appearing to Blessed Bernardo Tolomeo.
Anne-Louis Girodet de Roussy-Trioson
(also given as Anne-Louis Girodet de Roucy-Triosson, Anne-Louis Girodet-Trioson) January 5, 1767 - December 9, 1824), was a French painter and pupil of Jacques-Louis David, who was part of the beginning of the Romantic movement by adding elements of eroticism through his paintings. Girodet is remembered for his precise and clear style and for his paintings of members of the Napoleonic family.
Lyon, Corneille de
Dutch practicing in France, approx. 1500-1575 Dutch painter, active in France. It is uncertain whether he was apprenticed in his native city of The Hague or in Antwerp, and nothing is known of him before 1533, when he was recorded in Lyon. It was possibly in the same year, while the French court was resident in Lyon, that Corneille was made painter to Queen Eleanor, the second wife of Francis I. In 1541 Corneille was painter to the Dauphin (later Henry II), and when the new king succeeded to the throne (1547) and made his state entry into Lyon in 1548, Corneille became Peintre du Roi. Corneille had obtained his naturalization papers in December 1547 and retained French nationality for the rest of his life. He married Marguerite Fradin, the daughter of a Lyon printer of some importance, and this allowed him to enter Lyon society. His studio was extremely prosperous until c. 1565, the year he is known to have visited Antwerp, but disappeared completely after his death despite the fact that he founded a dynasty of painters. His sons Corneille de La Haye II (b 1543) and Jacques de La Haye and his daughter Cl?mence de La Haye were all painters, and the family continued to be known for its artists until the 18th century. Corneille de Lyon was a Protestant, like all those in the circles in which he moved, and it may be that the decline of his fortunes in the 1560s was precipitated by the reversion of Lyon to the Catholic faction