1665-1747 Italian Giuseppe Maria Crespi Locations 1747). Painter, draughtsman and printmaker. His religious and mythological works are distinguished by a free brushstroke and a painterly manner. He also painted spirited genre scenes, which by their quality, content and quantity distinguish him as one of the first Italian painters of high standing to devote serious attention to the depiction of contemporary life. Such paintings as Woman Laundering (1700-05; St Petersburg, Hermitage) or Woman Washing Dishes (1720-25; Florence, Uffizi) offer straightforward glimpses of domestic chores in images that are startlingly novel for the period and look forward to the art of Jean-Simeon Chardin, Jean-Francois Millet and Honore Daumier  Related Paintings of Giuseppe Maria Crespi :. | La Fuite en Egypte | LIngegno | La Fuite en Egypte | Amore e Psiche | The Death of St Joseph (san 05) |
Related Artists:
Lethiere, Guillaume Guillon
French Painter, 1760-1832
Albert Fitch Bellows
Nov.29.1829-Nov.24.1883, American landscape painter of the Hudson River School, was born at Milford, Massachusetts. He first studied architecture and opened his own architectural firm in 1849, but quickly turned to painting. From 1850 to 1856 he taught at the New England School of Design in Boston. He resigned his post to travel and study abroad, and spent time in Paris and at the Royal Academy at Antwerp as well as in England. He exhibited his first work at the National Academy of Design in 1857, becoming a full member in 1861, and he settled in New York City in 1858 on his return to America. Bellows spent most of his remaining career in New York, though he briefly moved to Boston. He visited Europe again in 1867. In New York he kept a studio in the same building as many of the notable Hudson River School artists of the time. His landscape work of the 1860s is fully in the late Hudson River School tradition, though Bellows depicted people more prominently in his landscapes than most other artists. He excelled at figurative scenes. Bellows also differed from most Hudson River School artists in that he became skilled at watercolor, and authored a respected book on the subject titled "Water-Color Painting: Some Facts and Authorities in Relation to Its Durability". He eventually maintained two studios, one for oil paintings and one for watercolor. He was a member of the American Watercolor Society, and an honorary member of the Royal Belgian Society of Water-Colorists. Bellows also mastered etching??along with Samuel Colman he was possibly the only other Hudson River School artist to do so??and became a member of the New York Etching Club, the Philadelphia Society of Etchers and the Royal Society of Painter-Etchers and Engravers in London, England, an esteemed professional organization whose members included James McNeil Whistler and Francis Seymour Haden. He died in Auburndale,
Cristobal Rojas
Cristobal Rojas (Cua, Miranda, 15 December 1857 e Caracas, 8 November 1890) was one of the most important and high-profile Venezuelan painters of the 19th century. Rojas's styles varied considerably throughout his life, and he displayed talents in painting that ranged primarily for dramatic effect, to works done in the Impressionist style. Cristebal Rojas Poleo was born in the city of Cea in the Valles del Tuy to parents who worked in the medical profession. Part of his childhood occurred during the middle of the federal war (1859 - 1863) and Cea was particularly affected by the events of the war. He initiated studies under his grandfather, Jose Luis Rojas, who taught him how to draw and motivated him to improve. At 13 years old, his father died and he was forced to begin work in a tobacco factory in Cea to help support his family. In 1878, an earthquake devastated the Valles del Tuy region, and the Rojas faced poverty. As a result he moved to Caracas where he continued his painting studies, despite again having to work in the tobacco industry to support his mother and family. In Caracas he attended classes by Jose Manuel Mauco at the Universidad Central de Venezuela. Between 1880 and 1882, he developed a keen interest in oils and displayed a primitive technique that would prevail in his later paintings such as Ruinas de Cea despues del Terremoto and Ruinas del templo de la Merced. During this time he became acquainted with the painter Antonio Herrera Toro, also coming under contract as Toro's assistant to paint Caracas Cathedral.