Albert Bierstadt
Albert Bierstadt's Oil Paintings
Albert Bierstadt Museum
Jan 8, 1830 - Feb 18, 1902. German-American painter.

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Germain Hilaire Edgard Degas
Portrait of Elena Carafa

ID: 43345

Germain Hilaire Edgard Degas Portrait of Elena Carafa
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Germain Hilaire Edgard Degas Portrait of Elena Carafa


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Germain Hilaire Edgard Degas

1834-1917 impressionism,French  Related Paintings of Germain Hilaire Edgard Degas :. | Dance Foyer at the Opera | Race Horses before the Stands | After the Bath,Woman Drying Herself | A Woman with Chrysanthemums | In a Cafe |
Related Artists:
Panini, Giovanni Paolo
Italian Neoclassical Painter, ca.1691-1765 Italian painter, architect and stage designer. He was a highly prolific and versatile painter, best known for his numerous vedute of Rome, many of which focused on the remnants of the city's Classical past. Ceremonies and festivals often feature in his vedute, which thus constitute a lively documentation of contemporary topography, lifestyle and customs. In contrast to Bernardo Bellotto and Gaspar van Wittel, his treatment is picturesque rather than rigorous; he liked to enliven and animate his views by adding numerous figures. He worked exclusively in Rome and by the end of his career was the head of a thriving workshop that included the Frenchman Hubert Robert (in Rome from 1754) and Panini's son Francesco Panini (b 1738).
James H. Cafferty
American, 1819-1869
John Roddam Spencer Stanhope
English Pre-Raphaelite Painter, 1829-1908,English painter. The second son of Yorkshire landed gentry, he was educated at Rugby and Christ Church, Oxford. In 1850 he studied in London with G. F. Watts, through whom he entered the artistic circle at Little Holland House, where he met D. G. Rossetti and Edward Burne-Jones. In 1857 Rossetti invited him to paint at the Oxford Union (Sir Gawaine and the Damsels at the Fountain), and in 1858 Stanhope occupied a studio next to Rossetti's at Chatham Place, Blackfriars (London), where he painted Thoughts of the Past (London, Tate); a modern-life subject indebted to Rossetti, it shows a prostitute recalling her former life. Stanhope's close friendship with Burne-Jones proved a more decisive influence on his work that, in the 1860s, consisted of dreamlike poetic and mythological subjects often set in quaint, enclosed spaces, as in I Have Trod the Winepress Alone






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