Russian: 11 May [O.S. 29 April] 1811 - 30 January [O.S. 18 January] 1893) was a Russian painter, Major General and administrator. Grigory Gagarin was born in Saint Petersburg to the noble Rurikid princely Gagarin family. His father, Prince Grigory Ivanovich Gagarin (Saint Petersburg, 17 March 1782 - Tegernsee, 12 February 1837), was a Russian diplomat in France and later the ambassador to Italy. His father married in Saint Petersburg in 1809 his mother Yekaterina Petrovna Sojmonova (Saint Petersburg, 23 May 1790 - Moscow, 27 February 1873). Thus until the age 13 the boy was with his family in Paris and Rome and then studied in the collegium Tolomei in Siena. Grigory did not receive a formal artistic education, but took private lessons from the famous Russian painter Karl Briullov who at that time lived in Italy. In 1832 he returned to Saint Petersburg, became acquainted with Alexander Pushkin and illustrated his works The Queen of Spades and The Tale of Tsar Saltan.He also became close to the opposition Circle of Sixteen and Mikhail Lermontov.  Related Paintings of Grigory Gagarin :. | Outdoor Fete in Turkey | Trick Ridings of Curds and Tatars in front of the Fortress Sardar-Abbat in Armenia | Outdoor Fete in Turkey | Battle of Akhatle between Russians and Circassians on May | The Meeting of General Kleke von Klegenau and Imam Shamil in 1837 by Gagarin |
Related Artists:
Andrea Sacchi
1559-1661 Italian Andrea Sacchi Gallery As a young man, Sacchi had worked under Cortona in Castel Fusano (1627-1629). But in a set of public debates later developed in the Roman Artist's Guild, Accademia di San Luca, he strongly criticized Cortona's exuberance. In particular, Sacchi advocated that since a unique, individual expression needs to be assigned to each figure in a composition, a painting should not consist of more than about ten figures. In a crowded composition, the figures would be deprived of individuality, and thus cloud the particular meaning of the piece. In some ways this is a reaction against the zealous excess of crowds in paintings by men such as Zuccari of the prior generation, and by Cortona among his contemporaries. Simplicity and unity were essential to Sacchi. Cortona argued that large paintings were more like an epic, that could avail themselves of multiple subplots. The encrustation of a painting with excess decorative details, including melees of crowds, would represent "wall-paper" art rather than focused narrative. Among the partisan's of Sacchi's argument for simplicity and focus were his friends, the sculptor Algardi and painter Poussin. The controversy was however less pitched than some suggest, and also involved the dissatisfaction that Sacchi and Albani, among others, shared regarding the artistic depiction of low or genre subjects and themes, such as preferred by the Bamboccianti and even the Caravaggisti. They felt that high art should focus on exalted themes- biblical, mythologic, or from classic history. Sacchi, who worked almost always in Rome, left few pictures visible in private galleries. He had a flourishing school: Poussin and Carlo Maratta were younger collaborators or pupils. In Maratta's large studio, Sacchi's preference for grand manner style would find pre-eminence among Roman circles for decades to follow. But many others worked under him or his influence including Luigi Garzi, Francesco Lauri, Andrea Camassei and Giacinto Gimignani. Sacchi's own illegitimate son Giuseppe, died young after giving very high hopes. Sacchi died at Nettuno in 1661.
Charles Hawthorne
1872-1930 Charles Webster Hawthorne (January 8, 1872 ?C November 29, 1930) was an American portrait and genre painter and a noted teacher who founded the Cape Cod School of Art in 1899. He was born in Maine, started as an office-boy in a stained-glass factory in New York, studied at night school and with Henry Siddons Mowbray and William Merritt Chase, and abroad in both Holland and Italy. When he was eighteen, Hawthorne went to New York and studied painting at the National Academy of Design and the Art Students League. Among his teachers were Frank Vincent DuMond and George de Forest Brush. But Hawthorne declared that the most dominant influence in his career was William Merritt Chase, with whom he worked as both a pupil and assistant. Both men were naturally talented teachers and figurative painters who were drawn to rich color and the lusciousness of oil paint as a medium. Chase passed on a Munich tradition of tone values and tone painting, and Hawthorne learned all he could. While studying abroad in Holland as Chase's assistant, Hawthorne was influenced to start his own school of art. His winters were spent in Paris and New York City, his summers at Provincetown, Massachusetts, the site of his school. While in Paris Hawthorne became a full member of the French Soci??t?? Nationale des Beaux-Arts in 1917.
Juan Pantoja de la Cruz
(Valladolid, 1553 - 26 October 1608, Madrid) Spanish painter, one of the best representatives of the Spanish school of court painters. He worked for Philip II and Philip III. The Museo del Prado contains examples of his severe portraiture style. Juan Pantoja de La Cruz was, born 1553 in Valladolid. Very little is known of his formative years as a painter. He was a pupil of the court painter Alonso Senchez Coello in Madrid and he must have assisted his master in complying with his duties as painter of the Spanish King, Philip II. Pantoja probably continued to work in his master studio after completing his training. He married in 1585 beginning to paint for the court around that time. After Sanchez Coello's death in 1588, Pantoja took over his master workshop and became court painter to Philip II of Spain. Pantoja kept working for the court and the nobility, painting portraits of Prince Philip, the future Philip III, in 1592 and 1594. Among his most well known works is the portrait of Philip II wearing a cape and hat all in black, painted around 1594 for the Escorial. This portrait is one of the best representations of the idea of Spanish majesty, based on the remoteness of the monarch. On Philip II's death in 1598, Philip III confirmed Pantoja's status as court painter. When the court settled in Valladolid in 1601, Pantoja moved to the new capital, remaining in this city, several years.