1395-1451 Italian Antonio Pisanello Galleries professionally as Antonio di Puccio Pisano or Antonio di Puccio da Cereto, also erroneously called Vittore Pisano by Giorgio Vasari, was one of the most distinguished painters of the early Italian Renaissance and Quattrocento. He was acclaimed by poets such as Guarino da Verona and praised by humanists of his time who compared him to such illustrious names as Cimabue, Phidias and Praxiteles. He is known for his resplendent frescoes in large murals, elegant portraits, small easel pictures, and many brilliant drawings. He is the most important commemorative portrait medallist in the first half of the 15th century. He was employed by the Doge of Venice, the Pope in the Vatican and the courts of Verona, Ferrara, Mantua, Milan, Rimini, and by the King of Naples. He stood in high esteem of the Gonzaga and Este families. He had many of his works wrongly ascribed to other artists such as Piero della Francesca, Albrecht Durer and Leonardo da Vinci, to name a few. While most of his paintings have perished, a good many of his drawings and medals have survived.  Related Paintings of Antonio Pisanello :. | Tournament | Virgin and child with St. Goran and St Antonius | Portrait of the Emperor Sigismund | Ginepro d'Este | The Vision of Saint Eustace |
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Alexander Young Jackson
(October 3, 1882 - April 5, 1974) was a Canadian painter and a founding member of the Group of Seven. As a young boy, Jackson worked as an office boy for a lithograph company, after his father abandoned his family of six children. It was at this company that Jackson began his art training. In the evenings, he took classes at Montreal's Monument-National In 1905, Jackson worked his way to Europe on a cattle boat, returning by the same means and travelling on to Chicago. In Chicago, he joined a commercial art firm and took courses at the Art Institute of Chicago. He saved his earnings and, by 1907, was able to visit France to study Impressionism. In France, Jackson decided to become a professional painter, studying at Paris' Academie Julian under J.P. Laurens.
Francis Day
Francis Day CIE (1829-1889) was Inspector-General of Fisheries in India(from circa 1871) and Burma and an ichthyologist. He was born on the 2nd of March 1829 Maresfield, Sussex, UK third son of William and Ann Day. He became the medical officer in the Madras Presidency, East India Company services in 1852. Francis Day was created a Companion of the Order of the Indian Empire in 1885. He was decorated with the 0rder of the crown of Italy. He retired in 1877. He wrote a monograph on fishes between 1875-1878 "The Fishes of India" with a supplement in 1888 and two volumes on "Fishes" in the Fauna of British India series in which he described over 1400 species. Also wrote British and Irish Salmonadae, which he illustrated with 9 plates, the colouring of which was done by Miss Florence Woolward. Francis Day was granted an honary LLD by the University of Edinburgh. Also Published Fishes of Malabar in 1865 Franics Day was an active member, and president of the Cheltenham Natural Sciences Society and presented papers to them. Also was an active member of the Cotswold Field Club, where he was vice president. He died at his residence, Kenilworth House, Cheltenham on the 10th of July 1889 of cancer of the stomach. Buried in Cheltenham cemetery.
Michael Ancher
Danish Painter, 1849-1927 He studied at the Kongelige Akademi for de Sk?nne Kunster, Copenhagen (1871-5), where his teachers Wilhelm Marstrand and Frederik Vermehren encouraged his interest in genre painting. He first visited Skagen in 1874 and settled there in 1880, having found that subject-matter drawn from local scenery was conducive to his artistic temperament. In Will he Manage to Weather the Point? (1880; Copenhagen, Kon. Saml.) several fishermen stand on the shore, evidently watching a boat come in. The firmly handled composition focuses on the group of men (the boat itself is invisible); each figure is an individual portrait that captures a response to the moment. Ancher's skill at grouping large numbers of figures with heroic monumentality compensates for his lacklustre colour sense. A change in his use of colour is noticeable in the works produced after an influential visit to Vienna in 1882; he was deeply impressed by the Dutch Old Masters at the Kunsthistorisches Museum, especially the Vermeers. Their effect on his painting can be seen in the Sick Girl (1883),