German (Resident in Britain) 1734-1810 Johann Zoffany Galleries Painter of portraits, conversation pieces, and theatrical scenes, Zoffany was born in Germany and came to England about 1758 after studying in Italy. He began by painting clock faces and doing hack work, before turning to painting theatrical scenes, especially depicting David Garrick. He was favoured by the royal family. George III nominated him for the Royal Academy in 1769 and recommended him to the duke of Tuscany.  Related Paintings of Johann Zoffany :. | Archduchess Maria Amalia of Austria | Charles Towneley and friends in his library, | The visit in the lord | Charles Towneley's Library in Park Street (nn03) | Self-portrait as David with the head of Goliath |
Related Artists:
Sir John Gilbert,RA,PRWS
1817-1897
Josef Danhauser
Josef Danhauser (August 19, 1805, Laimgrube (now a part of Mariahilf or Neubau) - May 4, 1845) was an Austrian painter, one of the main artists of Biedermeier period, together with Ferdinand Georg Waldmeller, Peter Fendi, among others. His works, not very appreciated in his days, dealt with very moralising subjects and they had a clear influence of William Hogarth. Joseph Danhauser was born in Vienna in 1805, the eldest son of sculptor and furniture manufacturer Joseph Ulrich Danhauser and his wife Johanna (nee Lambert). He took his first painting lessons with his father and he later assisted the Vienna Academy of Fine Arts. He studied with Johann Peter Krafft and made his first exhibition 1826. Invited by Johann Ladislaus Pyrker, patriarch of Venice, he visited the city of Doges, where he started to study the Italian masters. He came back to Vienna via Trieste in 1827, visiting Prague. That very year he painted Ludwig van Beethoven's death mask, roughly 12 hours after his death and a water-colour representing his deathbed. In 1828, he spent some time in Eger, with an invitation of this Hungarian city archbishop Pyrker. He solicited him for some pictures for the gallery of the Archdiocese. After his father's death in 1829, his brothers and he managed his furniture factory during the Biedermeier movement, being the precursors of modern design. That made him put his painting career aside. In 1833, he responded to a second invitation from Eger's archbishop and he painted The martyr of Saint John for a new basilica in the city and he received the Vienna Academy prize for his picture Die Verstobung der Hagar and he specialised in Genre works. In 1838, he was appointed vice-rector of the Academy and married Josephine Streit, who was the daughter of a physician and with whom he had three children, Josef, Marie and Julie, born in 1839, 1841 and 1843 respectively. Josef Danhauser was appointed professor of historical Painting at the Academy in 1841, but he left this occupation and he travelled around Germany and the Netherlands with the textile maker, art aficionado and art sponsor Rudolf von Arthaber. In this journey, he was very interested in the Dutch School and the format of his works was littler. He died of typhus in Vienna in 1845. They named a street with his name in Vienna in 1862.
PALMA GIOVANE
Italian Mannerist Painter, ca.1548-1628 Son of Antonio Palma. A greater artist than his father, his vast oeuvre represents the impact of central Italian Mannerism but principally of Jacopo Tintoretto on Venetian painting in the generation after Titian, Tintoretto and Paolo Veronese. He died in his late seventies and was occasionally referred to as 'il vecchio', but since the 17th century he has been known as 'il giovane' to distinguish him from his great uncle. He was virtually self-taught, apart from a presumed acquaintance with his father's workshop. In 1567 he came to the attention of Guidobaldo II della Rovere, Duke of Urbino, who was to support him for four years. A possible knowledge of Federico Barocci's art at the court of Urbino left little trace on his surviving early works. The Duke sent him to Rome for study, where he spent a few months apprenticed to an unknown artist. There his sympathy was with Taddeo Zuccaro and Federico Zuccaro, who influenced the graphic style of the drawing of Matteo da Lecce (1568; New York, Pierpont Morgan Lib.), his first dated work. His Roman sojourn, which lasted until c. 1573-4, made a direct impact on some of his Venetian works and indirectly made him receptive to Tintoretto's style. A tendency in Rome in the 1560s to retreat from the most artificial and decorative aspects of Mannerism in favour of naturalism was also to affect Palma's attitude to style in his mature works