1575-1642 Italian Guido Reni Galleries Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de?? Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style. By late 1601, Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601-1604, his main patron was cardinal Sfondrato. By 1604-1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607-1614, he was one of the painters patronized by Borghese. Abduction of Deianira, 1620-1621.Reni's frescoed ceiling of the large central hall of garden palace, Casino dell'Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese; the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale. The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman Sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne[5] in the Farnese. Reni in this painting is allies himself more with the sterner Cavaliere d'Arpino,Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616. He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino.  Related Paintings of Guido Reni :. | Deianeira rover out of centaur Nessos | Atalante and Hippomenes | Saint Sebastien martyr dans un paysage | The Death of Cleopatra | The Martyrdom of St Catherine of Alexandria |
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Frans Floris de Vriendt
c.1517-70, Flemish painter
Florine Stettheimer
(August 29, 1871 - May 11, 1944) was an American artist. She has been described as "a Deco-influenced early Modernist whos never really gotten her due". Florine was born in Rochester, New York to Joseph Stettheimer and Rosetta Walter. Her father, a banker, left the family before the children were grown. She was the fourth of five children: Walter, Stella, Carrie, Florine, and Ettie. After Walter and Stella married, the youngest three immured with their mother to form an epicurean way of life.She spent much of her early life traveling, studying art in Italy, Spain, France, Germany, and Switzerland. She studied for three years in the mid-1890s at the Art Students League of New York, but came into her own artistically upon her permanent return to New York after the start of World War I. In October 1916, the only one-person exhibition of her work during her lifetime took place at New York's Knoedler & Company. She exhibited 12 "high-keyed, decorative paintings", none of which were sold. Cushioned by family resources, Stettheimer refrained from self-promotion and considered her painting "an entirely private pursuit". She intended to have her works destroyed after her death, a wish defied by her sister Ettie, her executor. Stettheimer's privileged position pervades her work. As one critic has written, "money she regarded as a birthright, decidedly not something to be flaunted in the shape of a dozen yachts, but rather to be used as a palliative against the more unpleasant aspects of the world outside... In this frame of mind, she felt free to depict life as a series of boating parties, picnics, summertime naps, parades and strolls down Fifth Avenue." She created the sets and costumes for the 1934 production of Four Saints in Three Acts, an opera by Virgil Thomson with a libretto by Gertrude Stein. Her designs, which used cellophane in innovative ways, proved to be the project for which she was best known during her lifetime. She assisted her sister Carrie in the creation of the Stettheimer Dollhouse, now in the collection of the Museum of the City of New York. The house is a whimsical depiction of an upper-class residence, filled with works by Stettheimer's artist friends, including William Zorach, Alexander Archipenko, and Gaston Lachaise.
Kane Paul
Irish-born Canadian Painter b.1810 d.1871 was an Irish-Canadian painter, famous for his paintings of First Nations peoples in the Canadian West and other Native Americans in the Oregon Country. A largely self-educated artist, Kane grew up in Toronto (then known as York) and trained himself by copying European masters on a study trip through Europe. He undertook two voyages through the wild Canadian northwest in 1845 and from 1846 to 1848. The first trip took him from Toronto to Sault Ste. Marie and back. Having secured the support of the Hudson's Bay Company, he set out on a second, much longer voyage from Toronto across the Rocky Mountains to Fort Vancouver and Fort Victoria in the Columbia District, as the Canadians called the Oregon Country. On both trips Kane sketched and painted Aboriginal peoples and documented their lives. Upon his return to Toronto, he produced more than one hundred oil paintings from these sketches. Kane's work, particularly his field sketches, are still a valuable resource for ethnologists.