Italian High Renaissance Painter, 1483-1520 Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,   Related Paintings of RAFFAELLO Sanzio :. | Portrait of Yoliersi | Cardinal Tommaso Inghirami | The Cardinal Virtues | Guidobaldo da Montefeltro | St George and the Dragon st |
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Jean-Joseph Benjamin-Constant
(also known as Benjamin Constant), born Jean-Joseph Constant (10 June 1845 - 26 May 1902), was a French painter and etcher best known for his Oriental subjects and portraits. Benjamin-Constant was born in Paris. He studied at the Ecole des Beaux-Arts in Paris, where he was a pupil of Alexandre Cabanel. A journey to Morocco in 1872 strongly influenced his early artistic development and lead him to produce Romantic scenes under the spell of Orientalism. Among his noted works in this vein are Last Rebels, Justice in the Harem (both in the Luxembourg Gallery), Les Cherifas, and Moroccan Prisoners (Bordeaux). His large canvas, The Entrance of Mahomet II into Constantinople (Toulouse Museum), received a medal in 1876. After 1880, he changed his manner, devoting himself to mural decorations and to portraits. Prominent examples include the great plafond in the Hôtel de Ville, Paris, entitled Paris Convening the World; his paintings in the New Sorbonne, representing Literature, The Sciences, and the Academy of Paris; and the plafond of the Opera Comique theatre. He was distinguished as a portrait painter, especially in England, where he was a favorite of the aristocracy. His portrait Mons fils Andra (Luxembourg) was awarded a medal of honor at the Salon in 1896. Benjamin-Constant painted Pope Leo XIII, Queen Alexandra of England (1901), Lord John Lumley-Savile, and Henri Blowitz (1902). He was made a member of the Institute in 1893, and was a commander of the Legion of Honor. He visited the United States several times, and painted a number of portraits. The Metropolitan Museum of Art in New York owns a large mural decoration by Benjamin-Constant entitled Justinian in Council.
Hans Gude
March 13, 1825 ?C August 17, 1903,Norwegian painter. He was the most renowned Norwegian landscape painter of his time. At the age of 12 he was enrolled as a pupil of Johannes Flintoe (1787-1880). After attending evening classes at the Kongelige Tegneskole in Christiania, he went to D?sseldorf in 1841 to study privately with the landscape painter Andreas Achenbach (1815-1910). In 1842 Gude was admitted to the landscape class at the Akademie under Johann Wilhelm Schirmer. He was later appointed an assistant teacher at Schirmer private studio, and he succeeded his master as Professor of landscape painting both at the D?sseldorf Akademie (1854-62) and at the Karlsruhe Akademie (1864-80). In the 1840s Gude established his reputation in Norway and on the Continent with powerful images of the Norwegian mountains. These were shown in the Kunstforening galleries in D?sseldorf and Christiania and at the Berliner Akademische Kunstausstellung, where Gude exhibited throughout his life. Adolph Tidemand and Gude dominated the colony of Norwegian artists who studied in D?sseldorf in the mid-19th century. The two artists worked together on five paintings, all representing people in boats; Gude painted the landscape, Tidemand the figures. The Bridal Procession at Hardanger (1848; Oslo, N.G.) celebrates a ceremony of country life and is the most famous work of Norwegian National Romanticism. In a sunny western Norwegian landscape with snow on the high mountains, the bridal couple and wedding guests in national costume are shown rowing across the water from a medieval stave church on the headland in the background. Gude revealed greater maturity in High Mountain (1857; Oslo, N.G.). The disposition of mountains massed on the high plateau around a little lake produces an effect of monumentality. The predominant colours shade from grey to blue, concentrated in the cloud cover. The influence of Schirmer tranquil landscapes is apparent, while the rhythmic arrangement of light and shadow is reminiscent of Achenbach.
Kane Paul
Irish-born Canadian Painter b.1810 d.1871 was an Irish-Canadian painter, famous for his paintings of First Nations peoples in the Canadian West and other Native Americans in the Oregon Country. A largely self-educated artist, Kane grew up in Toronto (then known as York) and trained himself by copying European masters on a study trip through Europe. He undertook two voyages through the wild Canadian northwest in 1845 and from 1846 to 1848. The first trip took him from Toronto to Sault Ste. Marie and back. Having secured the support of the Hudson's Bay Company, he set out on a second, much longer voyage from Toronto across the Rocky Mountains to Fort Vancouver and Fort Victoria in the Columbia District, as the Canadians called the Oregon Country. On both trips Kane sketched and painted Aboriginal peoples and documented their lives. Upon his return to Toronto, he produced more than one hundred oil paintings from these sketches. Kane's work, particularly his field sketches, are still a valuable resource for ethnologists.