German 1788-1812 He received his earliest training from his father, the painter Johann Georg Pforr (1745-98), and his uncle, the art professor and first inspector of the painting gallery in Kassel, Johann Heinrich Tischbein the younger (1742-1808). In 1805 he became a student at the Akademie der Bildenden Kenste in Vienna, which was dominated by the severe Neo-classicism of its director, Heinrich Feger; he was taught by Hubert Maurer (1738-1818), Franz Cauzig (1762-1828) and Johann Martin Fischer. During the war with France in 1805, Pforr volunteered as a guard in the Vienna militia. He suffered a nervous breakdown, brought on by the conflict between his passionate longing for a contemplative life and a desire to see military action. He probably turned to religion to help sustain his mental equilibrium. In 1806 he resumed his academic studies and, believing himself destined to become a battle painter, made numerous drawings of historical battles, for example his still schoolish and baroquely composed Wallenstein in the Battle of L?tzen (1806; Frankfurt am Main, Stedel. Kstinst. & St?dt. Gal.). However, it was not until 1807, with Drawing with Twelve Travel Sketches (Frankfurt am Main, Stadt- & Ubib.), that he first began to overcome his beginner style and to develop his own. This resulted in reduced detail, simplified continuous contours, a structuring by means of planar rather than illusionistic criteria, a new clarity of vision and a chastened balance between nature and artistic conception.   Related Paintings of Franz Pforr :. | Shulamit and Mary (mk22) | Knights Before a Charcoal Burner's Hut | Shulamit and Maria | The Entry of Emperor Rudolf of Habsburg into Basle | St George and the Dragon |
Related Artists:
Jan Abrahamsz. Beerstraten
Flemish Baroque Era Painter, ca.1627-1666
HALL, Peter Adolf
1739-1793 Swedish painter and collector. In 1753 he attended Uppsala Universitet to study medicine and natural history. In 1755 he went on a study trip abroad, led by his drawing-master Lars Brisman. While in Germany (1756-9) he studied miniature painting with Eichhardt in Berlin and with Karl Friedrich Wilhelm Richard (1725-70) in Hamburg. After this trip, he decided to become a professional portrait painter, and in 1759 he enrolled at the Kungliga Akademi for de Fria Konsterna in Stockholm, studying drawing with the French sculptor Pierre-Hubert Larchaveque (1721-78) and painting with Gustaf Lundberg. He attracted the attention of C. F. Adelcrantz, who in 1766 gained for him a commission for the pastel portrait of Princes Karl and Fredrik Adolf. In that year he also executed a miniature portrait of Crown Prince Gustav on the occasion of his engagement to Princess Sophia Magdalena of Denmark. Also in 1766 he received a royal travel grant to study in Paris, where he developed a completely new technique of miniature painting using sweeping brushwork and a clear and fresh range of colour that allowed for lively characterization. He made exquisite detailed studies of the backgrounds of his paintings, as well as his sitters costumes and their attributes and accessories. His new technique involved applying gouache to the ivory in a manner that allowed the ivory to show through, a method that was particularly successful in depicting drapery. The smooth surface of the ivory also allowed freer brushwork associated with full-scale portraits.
Callisto Piazza
(1500-1561) was an Italian painter. Callisto, a member of the Piazza family of painters, was born in Lodi, Lombardy. In 1523 he was working in Brescia. His first dated and signed work is from the following year, and shows a typical Brescian style. This style was then emerging, and included artists such as Romanino and Moretto. Piazza shows influences from contemporaries such as Dosso Dossi and Ludovico Mazzolino of the Ferrarese school, as well as Giovanni Agostino da Lodi. In 1526-1529 Piazza worked in Val Camonica, at Erbanno, Borno, Breno, Esine and Cividate Camuno. In 1529 he returned to his native Lodi where he formed a workshop with his brothers Cesare and Scipione (died 1552). In 1538, while in Crema, he married the noblewoman Francesca Confalonieri. Later Callisto moved to Milan, where he received numerous commissions, such as the decoration of the San Girolamo chapel in Santa Maria Presso San Celso (1542); the decoration of the refectory of the convent of Sant'Ambrogio (1545); the frescoes for the Saletta Negra in the Castello Sforzesco; and the decoration of the Simonetta chapel in San Maurizio al Monastero Maggiore (1555), largely executed with the assistance of his son Fulvio. He also worked in Lodi at the Incoronata (1454), Novara, at the Abbey of Chiaravalle and other areas of Lombardy.