German 1805-1873 Franz Xaver Winterhalter Galleries German painter and lithographer. He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Scheler (1785-1852) in Freiburg im Breisgau and went to Munich in 1823, sponsored by the industrialist Baron Eichtal. In 1825 he began a course of study at the Akademie and was granted a stipend by Ludwig I, Grand Duke of Baden. The theoretical approach to art of the Akademie under the direction of Peter Cornelius was unfamiliar to him, as in Freiburg he had been required to paint in a popular style. He found the stimulus for his future development in the studio of Joseph Stieler, a portrait painter who was much in demand and who derived inspiration from French painting. Winterhalter became his collaborator in 1825. From Stieler he learnt to make the heads of figures emerge from shadow and to use light in the modelling of faces. He moved to Karlsruhe in 1830 with his brother Hermann Winterhalter (1808-92), who had also trained with Scheler and had followed him to Munich.  Related Paintings of Franz Xaver Winterhalter :. | Portrait of Madame Barbe de Rimsky-Korsakov | Roza Potocka | La Siesta | Grand Duchess of Baden | Julia Louisa Bosville, Lady Middleton |
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Alessandro Bonvicino
(c. 1498 - December 22, 1554), more commonly known as Il Moretto da Brescia, was an Italian Renaissance painter of Brescia and Venice. He was born at Rovato, in Brescian territory, and studied first under Fioravante Ferramola. Others state he trained with Vincenzo Foppa. His brothers Pietro and Jacopo were also painters. The 1911 Britannica claims he apprenticed with Titian in Venice and that Moretto modelled his earlier portrait-painting style on the Venetian style. On the other hand, the style also resembles that of Giorgione or late Bellini. The 1911 Britannica also states that he conceived a great enthusiasm for Raphael, though he never traveled to Rome; on the other hand, his classical serenity resembles that shown by Leonardo and his followers in Lombardy such as, for example, Bramantino. He may have consulted with his contemporary Girolamo Savoldo. Moretto excelled more in sedate altarpieces than in narrative action, and more in oil-painting than in fresco, although he painted fine frescoes depicting the lollygagging daughters of Count Martinengo in one of the palaces near Brescia. In 1521, he worked with Girolamo Romanino in the Cappella del Sacramento in the old cathedral of Brescia, where Moretto completed a Last Supper, Elijah in the Desert, and a Fall of Manna.He was active during 1522-24 in Padua. He painted alongside with Lorenzo Lotto at Santa Maria Maggiore in Brescia. Also in Brescia, he completed a Five Virgin Martyrs and his masterpiece, the Assumption of the Madonna for the church of San Clemente; a Coronation of the Madonna with four saints (c. 1525) for the church of Santi Nazaro e Celso; a St. Joseph for Santa Maria della Grazie; and a St Nicholas of Ban for Santa Maria de Miracoli. He collaborated with Floriano Ferramola in the decoration of the dome of the cathedral in Brescia.
Dufy Raoul
Le Havre 1877-Forcalquier 1953 was a French Fauvist painter. He developed a colourful, decorative style that became fashionable for designs for ceramics, textiles and decorative schemes for public buildings. He is noted for scenes of open-air social events. Raoul Dufy was born at Le Havre, in Normandy, one of a family of nine members. He left school at the age of 14 to work in a coffee importing company. In 1895 when he was 18, he started evening classes in art at Le Havre Ecole des Beaux-Arts. He and Othon Friesz, a school friend, studied the works of Eug??ne Boudin in the museum in Le Havre. Raoul Dufy, Regatta at Cowes, (1934), Washington D.C. National Gallery of Art.In 1900, after a year of military service, Raoul won a scholarship enabling him to attend the Ecole Nationale des Beaux-Arts in Paris, where he was a fellow student with Georges Braque. The impressionist landscapists, such as Claude Monet and Camille Pissarro, influenced him. Introduced to Berthe Weill in 1902, she showed his work in her gallery. Henri Matisse's Luxe, Calme et Volupte, which Dufy saw at the Salon des Independants in 1905, was a revelation to the young artist and directed his interest towards Fauvism. Les Fauves (wild beasts) emphasised bright colour and rich bold contours in their work, and Dufy's painting reflects this approach until about 1909, when contact with the work of Paul Cezanne led him to adopt a somewhat subtler technique.
John Mather
Australian painter, etcher and teacher. 1848-1916