1844-1930 After training with a provincial icon painter and at the St. Petersburg Academy of Fine Arts, he visited France and Italy on an academy scholarship. On his return he began painting subjects from Russian history. In 1873 he achieved international fame with Volga Boatmen, a grim, powerful image that became the model for Soviet Socialist Realism. Among his best-known works is Ivan the Terrible and His Son Ivan (1895), depicting Ivan's murder of his son. He also painted vigorous portraits (including Leo Tolstoy and Modest Mussorgsky). In 1894 he became professor of historical painting at the St. Petersburg Academy.   Related Paintings of Ilya Yefimovich Repin :. | Self-portrait at work | Portrait of Lydia Kuznetsova | Obruchev | Self-Portrait | Portrait of pianist and professor of Saint-Petersburg Conservatory Sophie Menter. |
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Rafal Hadziewicz
(13 October 1803 - 7 September 1883) was a Polish historical painter. Born in Zamch, Hadziewicz attended art school from 1816 to 1822. In 1822 he studied at Warsaw University under Antoni Brodowski. After getting a scholarship he traveled to Dresden in 1829 and later to Paris, where he studied at a prominent French School of Painting. In 1831 he continued his studies in Rome. He stayed in Rome in 1833 for self-study of the masters. At this time he created many well-received sketches. In 1834 he went to Krakew and painted icons for several Orthodox churches there. In 1839 he left for Moscow, where he served in the Department of Fine Art and Mathematics until 1844. In 1844 he moved back to Warsaw, where he served as a professor in the Warsaw School of Art. In 1871, near the end of his life, he was transferred to a university in Kielce, where he died. Hadziewicz painted many religious paintings and portraits but was best known for historic compositions, which were often compared to art of the Italian Renaissance and European Baroque.
Conrad Witz
1400-1446 German (Resident in Switzerland) Conrad Witz Gallery -6). German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art, while Witz pure tempera technique differs emphatically from the refined use of oil glazes that endows Netherlandish pictures with their jewel-like brilliance.
Petrus Christus
Flemish 1415-1473 Petrus Christus Locations South Netherlandish painter. His known artistic career began in Bruges on 6 July 1444 when, as the Poorterboek (citizens register) for that day reveals, he purchased his citizenship ... in order to be a painter. Town records show that he and his wife became members of the Confraternity of the Dry Tree c. 1462; that in 1463 he and another painter, Pieter Nachtegale, were paid for the construction of a Tree of Jesse (destr.) and for the cost of assistants employed on the day of the religious procession in which it was used; and that on 19 March 1472 he served as a representative of the painters guild in a dispute with another painter, Jehan de Hervy the elder ( fl 1472-1507). These and a few other scattered references comprise the existing documentation for Christusa life and work.