Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.  Related Paintings of Caravaggio :. | St. Francis in Ecstasy f | St. John the Baptist | Details of Martyrdom of St.Matthew | Caravaggio Cardsharps Kimbell detail | The Supper at Emmaus |
Related Artists:
POTTER, Paulus
Dutch Baroque Era Painter, 1625-1654 Son of Pieter Potter. He was related through his mother, Aechtie Pouwels (d 1636), to the wealthy and powerful von Egmont and Semeyns families, who held important offices in Enkhuizen and at the court in The Hague. He worked in his father's studio in Amsterdam during the 1630s and, like him, painted history subjects that show the strong influence of Claes Moeyaert, with whom Paulus may also have studied. In the painting Abraham Returning from Canaan he adapted the landscape setting from an etching by Moses van Uyttenbroeck and the figures from works by Moeyaert from over ten years earlier. Significantly, however, he redistributed the numerous animals and figures that Moeyaert had aligned evenly across the frontal plane; Potter placed them to one side, permitting a view into the deep distance where other animals can be seen. Potter followed his father more than Moeyaert in searching for ways to integrate his figures with the landscape,
Carl Fredrik Hill
Swedish Painter, 1849-1911,Swedish painter and draughtsman. He grew up in the university city of Lund, where his father was a mathematics professor. Despite severe opposition from his father, he studied landscape painting at the Konstakademi in Stockholm (1871-2), under Johan Edvard Bergh and Per Daniel Holm (1835-1903). He also frequently copied Dutch Old Masters, particularly Jacob van Ruisdael. After seeing the work that Alfred Wahlberg had sent home from Paris, Hill began to abandon his initial approach to form and colour, and he left for Paris in November 1873. His most important experience there was his encounter with the painting of Jean-Baptiste-Camille Corot: 'Corot has discovered a new world, because he has discovered a new way of looking at the old', he wrote in a letter. Other contemporary French painters Hill admired were Alexandre-Gabriel Decamps, Charles-Fran?ois Daubigny, Jean-Franeois Millet and Theodore Rousseau. From Courbet he learnt how to use colour to suggest the surface texture of stone quarries and gravel hills. In Barbizon in 1874 and 1875 Hill met the Hungarian painters Laszlo Pael and Mihaly von Muncacsy. His paintings of this time, for example Autumn Landscape, Evening: Fontainebleau (1875; Malm?, Kstmus.), are characterized by their dark 'luminarism' and their debt to Corot's later works.
Vassily Maximov
Russian 1844-1911,was a Russian painter, a prominent member of the Peredvizhniki group. Maximov was born to a peasant family in the village of Lopino near Novaya Ladoga. He became an orphan early and worked for an Iconpainting shop, where he first learned to paint. In 1863 he entered the Imperial Academy of Arts and in 1864 he became a member of an Artel of Artists created by P.N. Krestonovtsev by the example of Ivan Kramskoi. The artel existed only one year and was then disbanded. Maximov painted the Sick Child (1864) at that time, when received a Gold Medal of the Academia. He completed all the courses of the Academy in three years. In 1865 he (like the group of fourteen led by Ivan Kramskoi had done earlier) refused to take part in the competitions for the Major Gold Medal by Academia. He argued that he did not need to study abroad (that was a part of the prize) but rather would study the Russian village. Indeed, after graduation from the Academia he moved to the village of Shubino, in the gubernia of Tver, where he painted the peasant life, earning money as a painting teacher of the Princes Golenischev Kutuzov (descendants of Mikhail Illarionovich Kutuzov). His painting Grandmother tales (1867) was shown at a Peredvizhniki exhibition, where it won a prize and was bought by Pavel Tretyakov. In 1872 he was admitted to the Peredvizhniki group, and soon became one of its most prominent and rigorous members. Ilya Yefimovich Repin described Maximov as the most uncrushable stone in the foundation of peredvizhnechestvo. Maximov painted many paintings of the peasant life. In the last twenty years of his life, realism paintings fell out of fashion. Maximov still painted almost exclusively scenes of the peasant lives that had almost no buyers. The artist lived a life full of poverty and illnesses. He died in Saint Petersburg.