de Figueiredo e Melo (Areia, Brazil, 29 April 1843 - Florence, Italy, 7 October 1905) was one of the most important academic painters of Brazil. He was also a writer and a teacher. He moved to Rio de Janeiro in 1854, where he was granted a scholarship to study in the Academia Imperial de Belas Artes (Imperial Academy of Fine Arts). Later he furthered his studies in Europe, at the École des Beaux-Arts in Paris, being a pupil of Jean-Auguste-Dominique Ingres, Hippolyte Flandrin and Carle-Horace Vernet, winning much praise for his paintings, and achieving the Doctorate in Sciences at the University of Brussels, in 1868. Returning to Brazil, he produced a great series of masterpieces, including one of the most well known works of art in Brazil: Independence or Death!, depicting the moment when Prince Peter declared the country independent from Portugal, a work that has illustrated History books for elementary schools in Brazil for decades. Living mostly in Florence, Italy but traveling extensively back and forth from Rio de Janeiro, Pedro Am??rico managed to work also as a lecturer and an art historian. He married Carlota de Ara??jo Porto-alegre (1844?C1918), daughter of painter and diplomat Manuel de Ara??jo Porto-alegre, and they had children. Knighted by the German Crown he was also Great Knight of the Order of the Holy Sepulchre. With the proclamation of the Republic in Brazil in 1889, he was elected a deputy of the National Assembly.   Related Paintings of Pedro Americo :. | Quartered Tiradentes | Cavalo morto | Venus | The Emperor's speech | Independency or death |
Related Artists:
Edward Rosenberg
painted Solnedgang i vinterlandskap in 1921 Edward Rosenberg (1858-1934)Aliases: Axel Edvard John Rosenberg; Axel Edward John Rosenberg; Edvard RosenbergProfessions: Landscape painter.
Joseph Stieler
German Painter, 1781-1858,German painter. In 1798 he studied under Christoph Fesel (1737-1805) in Werzburg and in 1800 with Heinrich Feger in Vienna, where his style was strongly influenced by English portraiture. After he studied in Paris (1807-8) with Fran?ois G?rard the influence of Neo-classicism became apparent in his work. He visited Italy in 1809, 1810 and 1812 to do commissioned portraits for various patrons, among them Prince Eugene de Beauharnais (1809; Munich, Bayer. Nmus.) and Joachim Murat, King of Naples (reg 1808-15). In 1812 he went to Munich where he did work for middle-class clients, the nobility and the royal family of Bavaria (e.g. the portrait of Maximilian I Joseph, 1816; Ellingen, Schloss). In 1820 he was appointed court painter to Ludwig I, King of Bavaria (reg 1825-48), and painted several portraits of him. In 1823 he helped co-found the Kunstverein in Munich. He was one of the most important portrait painters in the Neo-classical style, specializing particularly in studies of women, as seen in the 36 portraits commissioned by Ludwig I for the Schenheitsgalerie (1827-42; Munich, Schloss Nymphenburg). In his portraits for the middle classes and for the court he devised certain peculiarities of form. He painted various members of the royal houses of Austria, Prussia and Sweden, as well as members of the nobility in the duchies of Saxe-Altenberg, Saxe-Coburg and Hesse. His sitters also included some of the most important figures in the political and intellectual life of Germany in the first half of the 19th century. He painted the pendant portraits of Franz Brentano and Antonie Brentano (both 1808; Winkel, Brentanohaus), Johann Wolfgang von Goethe (1828; Munich, Neue Pin.) and Ludwig Tieck (1838; Berlin, Schloss Charlottenburg), the geographer and botanist Alexander von Humboldt (1843; Potsdam, Schloss Charlottenhof) and the musician Ludwig van Beethoven (Bonn, Beethoven-Haus). After 1845 the classical elements in his paintings were sometimes combined with an application of colour typical of plein-air studies. He also painted genre pictures and religious scenes.
BROEDERLAM, Melchior
Netherlandish Gothic Era Painter, ca.1355-1411 South Netherlandish painter. Broederlam's family, long-established in Ypres, provided three aldermen for the city and sided with the French Counts of Flanders against the Flemish populace. After a training that may have included contact with Jan Boudolf in Bruges before 1368 or Paris after 1370 and an extended visit to Italy, the artist became, by 1381, an official painter of the reigning count, Louis de M?le (reg. 1346-84), painting leather chairs, pennons and banners. On 13 May 1384, directly after Louis's death, he was appointed a valet de chambre to the count's heir, Philip the Bold, Duke of Burgundy.