French Rococo Era Painter, 1684-1721 He is best known for his invention of a new genre, the f?te galante, a small easel painting in which elegant people are depicted in conversation or music-making in a secluded parkland setting (see under F?TE CHAMP?TRE). His particular originality lies in the generally restrained nature of the amorous exchanges of his characters, which are conveyed as much by glance as by gesture, and in his mingling of figures in contemporary dress with others in theatrical costume  Related Paintings of Jean antoine Watteau :. | Les Charmes de la vie | Das Ballvergnegen | Das Liebeslied | The base Shirra island goes on a pilgrimage | Franzosische Komodianten |
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Aleksander Orlowski
(March 9, 1777 - March 13, 1832) was a Polish painter and sketch maker, pioneer of lithography in the Russian Empire. Orłowski was born in 1777 in Warsaw to a tavern-keeper. In his early childhood he became known as a prodigy and soon Izabela Czartoryska financed his first classes of painting with the notable artist Jan Piotr Norblin. In 1793 Orłowski joined the Polish Army and fought in the Kościuszko Uprising against Imperial Russia and Prussia, but was wounded and returned to Warsaw for further studies, financed by Prince Jezef Poniatowski. He studied with many notable painters of the epoch, among them Norblin, Marcello Bacciarelli and Wincenty Lesserowicz. In 1802, after the Partitions of Poland, he moved to Russia, where he became one of the pioneers of lithography. Among his works are countless sketches of everyday life in Poland and Russia, as well as scenes of the Kościuszko Uprising and other Polish wars.
Angelica Kauffmann
Swiss(Resident in England) 1741-1807 She was born at Chur in Graub??nden, Switzerland, but grew up in Schwarzenberg in Vorarlberg/Austria where her family originated. Her father, Joseph Johann Kauffmann, was a relatively poor man but a skilled painter that was often traveling around for his works. He was apparently very successful in teaching his precocious daughter. She rapidly acquired several languages from her mother Cleophea Lutz, read incessantly, and showed marked talents as a musician. Her greatest progress, however, was in painting; and in her twelfth year she had become a notability, with bishops and nobles for her sitters. In 1754 her father took her to Milan. Later visits to Italy of long duration followed: in 1763 she visited Rome, returning again in 1764. From Rome she passed to Bologna and Venice, being everywhere feted and caressed, as much for her talents as for her personal charms. Writing from Rome in August 1764 to his friend Franke, Winckelmann refers to her exceptional popularity. She was then painting his picture, a half-length, of which she also made an etching. She spoke Italian as well as German, he says; and she also expressed herself with facility in French and English, one result of the last-named accomplishment being that she became a popular portraitist for English visitors to Rome. "She may be styled beautiful," he adds, "and in singing may vie with our best virtuosi." While at Venice, she was induced by Lady Wentworth, the wife of the German ambassador, to accompany her to London. One of her first works was a portrait of David Garrick, exhibited in the year of her arrival at "Mr Moreing's great room in Maiden Lane." The rank of Lady Wentworth opened society to her, and she was everywhere well received, the royal family especially showing her great favour. Her firmest friend, however, was Sir Joshua Reynolds. In his pocket-book, her name as Miss Angelica or Miss Angel appears frequently, and in 1766 he painted her, a compliment which she returned by her Portrait of Sir Joshua Reynolds. Another instance of her intimacy with Reynolds is to be found in her variation of Guercino's Et in Arcadia ego, a subject which Reynolds repeated a few years later in his portrait of Mrs Bouverie and Mrs Crewe. When, in about November 1767, she was entrapped into a clandestine marriage with an adventurer who passed for a Swedish count (the Count de Horn), Reynolds helped extract her. It was doubtless owing to his good offices that she was among the signatories to the famous petition to the king for the establishment of the Royal Academy of Painting and Sculpture. In its first catalogue of 1769 she appears with "R.A." after her name (an honour she shared with one other lady, Mary Moser); and she contributed the Interview of Hector and Andromache, and three other classical compositions. Her friendship with Reynolds was criticised in 1775 by fellow Academician Nathaniel Hone in his satirical picture "The Conjurer". This attacked the fashion for Italianate Renaissance art, ridiculed Reynolds, and included a nude caricature of Kauffmann, later painted out by Hone. The work was rejected by the Royal Academy. From 1769 until 1782, she was an annual exhibitor, sending sometimes as many as seven pictures, generally classic or allegorical subjects. One of the most notable was Leonardo expiring in the Arms of Francis the First 1778. In 1773 she was appointed by the Academy with others to decorate St Paul's Cathedral, and it was she who, with Biagio Rebecca, painted the Academy's old lecture room at Somerset House. Kauffmann's strength was her work in history painting, the most elite and lucrative category in academic painting during the 18th century. Under the direction of Sir Joshua Reynolds, the Academy made a strong effort to promote history painting to a native audience who were more interested in commissioning and buying portraits and landscapes. Despite the popularity that Kauffmann enjoyed in English society and her success as an artist, she was disappointed by the relative apathy that the English had for history painting. Ultimately, she left England for the continent where history painting was better established, esteemed, and patronized. Kauffmann (seated), in the company of other "Bluestockings" (1778)It is probable that her popularity declined a little in consequence of her unfortunate marriage; but in 1781, after her first husband's death (she had been long separated from him), she married Antonio Zucchi (1728?C1795), a Venetian artist then resident in England. Shortly afterwards she retired to Rome, where she befriended, among others, Johann Wolfgang von Goethe, who said she worked harder and accomplished more than any artist he knew, yet always restive she wanted to do more (Goethe's 'Italian Journey' 1786-1788) and lived for 25 years with much of her old prestige. In 1782 she lost her father; and in 1795, her husband. She continued at intervals to contribute to the Academy, her last exhibit being in 1797. After this she produced little, and in 1807 she died in Rome, being honoured by a splendid funeral under the direction of Canova. The entire Academy of St Luke, with numerous ecclesiastics and virtuosi, followed her to her tomb in San Andrea delle Fratte, and, as at the burial of Raphael, two of her best pictures were carried in procession. The works of Angelica Kauffmann have not retained their reputation. She had a certain gift of grace, and considerable skill in composition. But her figures lack variety and expression; and it has been said that her men are masculine women (it is worth noting that, at the time, female artists were not allowed access to male models). Her colouring, however, is fairly enough defined by Gustav Friedrich Waagen's term "cheerful". As of 1911, rooms decorated by her brush were still to be seen in various quarters. At Hampton Court was a portrait of the duchess of Brunswick; in the National Portrait Gallery, a self-portrait . There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, and in the Alte Pinakothek at Munich. The Munich example was another portrait of herself; and there was a third in the Uffizi at Florence. A few of her works in private collections were exhibited among the Old Masters at Burlington House. But she is perhaps best known by the numerous engravings from her designs by Schiavonetti, Bartolozzi and others. Those by Bartolozzi especially still found considerable favour with collectors. Also, several of her works can be seen in the game Hitman: World of Assassination in one of the missions, read more on the site Zonemod. Charles Willson Peale (1741-1827), arist, patriot, and founder of a major American art dynasty, named several of his children after great European artists, including a daughter, Angelica Kauffman Peale. Her life was written in 1810 by Giovanni de Rossi. It has also been used as the basis of a romance by Leon de Wailly (1838) and it prompted the charming novel contributed by Mrs Richmond Ritchie to the Cornhill Magazine in 1875 entitled Miss Angel. She should not be confused with painter Angelika Kaufmann, who was born in 1935 in Carinthia, Austria.
Franz Marc
1880-1916 German Franz Marc Locations Franz Marc was born in 1880, in the German town of Munich. His father, Wilhelm, was a professional landscape painter, and his mother Sophie was a strict Calvinist. He began study at the Academy of Fine Arts, Munich in 1900. In 1903 and 1907 he spent time in Paris and discovered a strong affinity for the work of Vincent van Gogh. Marc developed an important friendship with the artist August Macke in 1910. In 1911 he formed the Der Blaue Reiter artist circle with Macke, Wassily Kandinsky, and other artists who decided to split off from the Neue K??nstlervereinigung movement. He showed several of his works in the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912. The exhibition was the apex of the German expressionist movement and also showed in Berlin, Köln, Hagen, and Frankfurt. In 1912, Marc also met Robert Delaunay, whose use of color and futurist method was a major influence on Marc's work. Marc became influenced by futurism and cubism, and his art became stark and abstract in nature. His name was on a list of notable artists to be withdrawn from combat in World War I. Before the orders were carried out, he was struck in the head and killed instantly by a shell splinter during the Battle of Verdun (1916).