(6 May 1867 - 24 September 1940) was a Hungarian painter, a leading member of the Nagybenya artists' colony and founder of the Kecskemet artists' colony. Born in Som, Ivenyi-Grenwald began his artistic studies under Bertalan Szekely and Keroly Lotz at the Academy of Fine Arts in Budapest (1882-86) and continued them at Munich in 1886-87 and at the Academie Julian in Paris from 1887 to 1890. From 1891 he again worked in Munich; in 1894 he travelled with Ferenc Eisenhut to Egypt, where he painted several oriental-themed works. Beginning in 1889 he had regular exhibitions at the Palace of Art in Budapest. Characteristic of his early pictures is A Hader kardja ("The Warrior's Sword", 1890), a proto-Symbolist treatment of rural genre showing the influence of Jules Bastien-Lepage. After his return to Munich, Ivenyi-Grenwald painted a large-scale genre painting entitled Nihilistek sorsot heznak ("Nihilists Drawing Lots", 1893), a work as notable for its dramatic use of chiaroscuro as for its deeply felt subject-matter. In response to a state commission for the 1896 Millennium Exhibition in Budapest he produced an enormous academic history painting.  Related Paintings of Bela Ivanyi-Grunwald :. | Woman by the Water | View of Nagybanya with Gutin | Drying Clothes | Still-life | Devotion (Ave Maria) |
Related Artists:
BEUCKELAER, Joachim
Flemish Northern Renaissance Painter, ca.1534-1574 A native of Antwerp, he studied under his uncle, Pieter Aertsen. Many of his paintings contain scenes of kitchen and markets, with religious allusions in the background. His Four Elements series (as of 2004[update], in the National Gallery, London) exemplifies this theme on a large scale. Water, for example, shows a fish market selling twelve kinds of fish, representing the twelve disciples of Jesus. Through an archway in the background we can see Jesus walking on the Sea of Galilee after his resurrection, making fish appear miraculously in empty nets. Beuckelaer's work was influential on painters in Northern Italy, particularly Vincenzo Campi.
Silvestro lega
Italian Realist Painter, 1826-1895 Italian painter. From 1843 to 1847 he attended the Accademia di Belle Arti, Florence, studying drawing under Benedetto Servolini (1805-79) and Tommaso Gazzarini (1790-1853), then, briefly, painting under Giuseppe Bezzuoli. About 1847 he entered Luigi Mussini's school (see PURISMO), where the teaching emphasized the 15th-century Florentine principles of drawing and orderly construction. Then and for some years afterwards he continued to attend the Scuola del Nudo of the Accademia. After fighting in the military campaigns for Italian independence (1848-9) Lega resumed his training, this time under Antonio Ciseri, executing his first large-scale painting, Doubting Thomas (1850; Modigliana, Osp. Civ.). In 1852 he won the Concorso Trienniale dell'Accademia with David Placating Saul
Gaspare Diziani
(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich. His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo. Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes. He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi. The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).