French Painter, 1763-1843 French painter. He came from a humble background, his father being an employee at the market of Les Halles in Paris. At an early age, a farmer general, M. de Chalue, took an interest in him and found him a place with the curate of Veruts, on the plain of Saint-Denis, north of Paris. It was here that he first developed a love of the countryside. In 1775 he was apprenticed to a mediocre history painter called Leduc, but he preferred to go off and sketch out of doors. In order to assist him, M. de Berchigny, Colonel in the Hussars, engaged him in his regiment garrisoned in Normandy and arranged for him to take lessons in art. He remained there for more than a year and then returned to Paris, where he worked with M. de Grammont-Voulgy, who was Steward to the brother of Louis XVI.  Related Paintings of Georges Michel :. | Battle of Sevastopol | the vision of st. john | The Holy Trinity | Flower hat | Paris judgement |
Related Artists:
DUCK, Jacob
Dutch painter (b. ca. 1600, Utrecht, d. after 1660, Utrecht)
ANTONIAZZO ROMANO
[Italian Early Renaissance Painter, 1430-ca.1510 Antoniazzo was born in the Colonna quarter of Rome. He was influenced at first by the decorative manner of Benozzo Gozzoli and Beato Angelico, as well as by the local painters of Lazio. His first recorded work is from 1461, a replica (untraced) of the miraculous Virgin and Child of St. Luke in the Basilica of Santa Maria Maggiore of Rome, for the seignior of Pesaro, Alessandro Sforza. From 1464 he worked for the papal court, producing at first a triptych of the Virgin and Child with Saints in Rieti. In 1467 he completed the decoration of the funerary chapel of Cardinal Bessarion in the church of Santi Apostoli of Rome, not far from his birthplace. In the centre of the decoration was an icon of the Virgin, now in the Chapel of St Anthony, a copy of the Byzantine icon in the Santa Maria in Cosmedin, the church of the Greeks in Rome. This icon in the Santi Apostoli is one of the most remarkable examples of Antoniazzo's considerable production of Virgins, generally taken from Byzantine models: he was indeed a much sought-after copier of icons. Later he worked to a series of frescoes in the Monastery of Tor de' Specchi in Rome, featuring stories of the life of S. Francesca Romana, and to the decoration of the public rooms of the Palazzo Venezia. In the 1470s Antoniazzo worked to the decoration of the Vatican Palace with artists like Perugino, Melozzo da Forl?? and Ghirlandaio. Through their influence his figures acquired gentler expressions and their garments were ornamented with decorative patterns, though always retaining several Medieval features. Together with Melozzo he worked to frescoes in Santa Maria sopra Minerva, and subsequently painted for that church a famous Annunciation (1482). The painting shows the Dominican Juan de Torquemada (cardinal) (d. 1468) presenting poor girls dowered by the guild of the Annunciation that he founded to the Virgin Mary. In the years between 1475 and 1480 Antoniazzo's production of altarpieces and panels with images of the Virgin increased as a result of the encouragement of the cult of the Virgin by Pope Sixtus IV. His later works show an increasing mannerism in their features, which were later imitated by several painters, whose works had been often attributed to the master. Antoniazzo was one of the three founders of the Compagnia di San Luca, the guild of painters and illuminators in Rome, and signed the statutes in 1478.
WRIGHT, Joseph
English painter (b. 1734, Derby, d. 1797, Derby). Painter, known as Wright of Derby, where he was born and spent most of his life. He earned a living as a portrait painter, while he experimented with the effects of light and industrial and scientific subjects, reflecting the interests of his day. Two of his best-known works come from this period, A Philosopher Lecturing on the Orrery (1766, Derby) and An Experiment on a Bird in the Air Pump (1768, Tate).