(November 29, 1806 e December 30, 1879) was a Brazilian Romantic writer and painter, as well as an architect, diplomat and professor. He is patron of the 32nd chair of the Brazilian Academy of Letters. Porto-alegre was born Manuel Jose de Araejo in Rio Pardo, to Francisco Jose de Araejo and Francisca Antônia Viana. He would change his name to Manuel de Araejo Pitangueira during the independence of Brazil, due to nativist causes. Later on, he finally changed it to its definitive form: Manuel de Araejo Porto-alegre. In 1826, he moved to Rio de Janeiro, in order to study painting with Jean-Baptiste Debret at the Escola Nacional de Belas Artes. He also studied at what is now the Academia Militar das Agulhas Negras and took a Medicine course and Philosophy. In 1831, he left Brazil along with Debret to Europe, in order to improve his painting techniques. In 1835, he went to Italy, where he met Gonçalves de Magalhães, another Brazilian poet. He and Magalhães would create in France, in the year of 1837, a short-lived magazine named Niterei, alongside Francisco de Sales Torres Homem. Also in 1837, he becomes history painting teacher at the Escola Nacional de Belas Artes, in a post that would last until 1848, when he would become a drawing teacher at the Academia Militar das Agulhas Negras, and starts doing his first caricatures. In 1838, he married Ana Paulina Delamare, having with her two children: Carlota Porto-alegre (the future wife of painter Pedro Americo) and future diplomat Paulo Porto-alegre. In 1840 he is named the official painter and decorator of Emperor Pedro II's palace. He decorated the imperial palace in Petrepolis, the wedding of Pedro II with Teresa Cristina of the Two Sicilies and the aforementioned emperor's coronation. He was decorated with the Order of Christ and the Order of the Rose. Reuniting with Gonçalves de Magalhães and Torres Homem, he founded a periodic named Minerva Brasiliense, that lasted from 1843 to 1845. He would publish in this periodic his poem Brasiliana. In 1844, alongside Torres Homem, he founded the humoristic magazine Lanterna Megica, where he published his caricatures. In 1849, Porto-alegre founded the magazine Guanabara, alongside Joaquim Manuel de Macedo and Gonçalves Dias. The magazine, considered the official journal of the Romantic movement in Brazil, lasted until 1856.   Related Paintings of Santo angelo :. | Self-portrait | Study for Pedro II's Sagration | Brazilian Jungle, | Pieta | Decorative panel |
Related Artists:
Paul Bril
Flemish Baroque Era Painter, ca.1554-1626 Paul (1554-1626) and Mattheus (1550-1583) Brill (or Bril) were brothers, both born in Antwerp, who were landscape painters who worked in Rome after earning papal favor. They are also described as painters of capricci (whims or fancies) or vedute ideate or veduta di fantasia, with typical rustic hills with a few ruins. Mattheus began work on several frescoes in Rome from 1570 onwards, and his work includes the Vatican Seasons. Mattheus died young, and his brother continued his work around 1574. Paul painted frescoes such as the landscapes in the Casino Rospigliosi (Rome), and The Roman Forum, which showed this site for what it had become: a slum for squatters and pasture for livestock (so much so that the place was nicknamed Campo Vaccino, or The Cowfield). His masterpiece may be a fresco in the Clementine Hall of the Vatican. Paul also did engravings and small cabinet paintings on copper, some of which are signed with a pair of spectacles (a pun on the French word brilles, spectacles). Some of these were collaborations with Johann Rottenhammer, who according to a dealer letter of 1617 painted the figures in Venice and then sent the plates to Rome for Bril to complete the landscape. He collaborated with his friend Adam Elsheimer, who he both influenced and was influenced by, on one painting (now Chatsworth House)
William Rimmer
1816-1879 William Rimmer Gallery William Rimmer (20 February 1816?C20 August 1879) was an American artist born in Liverpool, England. He was the son of a French refugee, who emigrated to Nova Scotia, where he was joined by his wife and child in 1818, and who in 1826 moved to Boston, where he earned a living as a shoemaker. The son learned the father's trade; at fifteen became a draughtsman and sign-painter; then worked for a lithographer; opened a studio and painted some ecclesiastical pictures. In 1840 Rimmer made a tour of New England painting portraits, he lived in Randolph, Massachusetts, in 1845-1855 as a shoemaker, for the last years of the decade practising medicine; practised in East Chelsea, Massachusetts and received a diploma from the Suffolk County Medical Society and in 1855 removed to East Milton, Massachusetts where he supplemented his income by carving busts from blocks of granite. In 1860 Rimmer made his head of St. Stephen and in 1861 his Falling Gladiator. Rimmer's sculptures, except those mentioned and The Fighting Lions, A Dying Centaur, and a statue of Alexander Hamilton (made in 1865 for the city of Boston), were soon destroyed. He worked in clay, not modelling but building up and chiselling; almost always without models or preliminary sketches; and always under technical disadvantages and in great haste; but his sculpture is anatomically remarkable and has an early Greek simplicity and strength. Rimmer published Elements of Design (1864) and Art Anatomy (1877), but his great work was in the classroom, where his lectures were illustrated with blackboard sketches. Rimmer's most famous work, though not normally associated with him, is Evening: Fall of Day. This paint-on-canvas portrays Apollo, and a modified version was used by Swan Song Records, the recording label founded in 1974 by English rock group Led Zeppelin, in their label art. It is often mistaken to be a picture of Icarus, Lucifer, Satan, or Daedalus
Ferdinand Hodler
1853-1918 Swiss Ferdinand Hodler Galleries Hodler was born in Berne and grew up in poverty. His father, Jean Hodler, made a meager living as a carpenter; his mother, Marguerite (n??e Neukomm), was from a peasant family. By the time Hodler was eight years old, he had lost his father and two younger brothers to tuberculosis. His mother remarried to a decorative painter, but in 1867 she too died of tuberculosis. Before he was ten, Hodler received training in decorative painting from his stepfather, and was subsequently sent to Thun to apprentice with a local painter, Ferdinand Sommer. Hodler's earliest works were conventional landscapes, which he sold in shops and to tourists. In 1871, at the age of 18, he traveled on foot to Geneva to start a career as a painter. The works of Hodler's early maturity consisted of landscapes, figure compositions and portraits, treated with a vigorous realism. He made a trip to Basel in 1875, where he studied the paintings of Hans Holbein??especially Dead Christ in the Tomb, which influenced Hodler's many treatments of the theme of death. In the last decade of the 19th century his work evolved to combine influences from several genres including symbolism and art nouveau. He developed a style which he called Parallelism, characterized by groupings of figures symmetrically arranged in poses suggesting ritual or dance. In 1884 Hodler met Augustine Dupin (1852?C1909), who became his companion and model for the next several years. Their son, Hector Hodler, was born in 1887. In 1889 Hodler married Bertha Stucki; they were divorced in 1891. Hodler's work in his final phase took on an expressionist aspect with strongly coloured and geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water and sky. However, the most famous of Hodler's paintings portray scenes in which characters are engaged in everyday activities, such as the famous woodcutter (Der Holzfaller, Mus??e d'Orsay, Paris). This picture went on to appear on the back of the 50 Swiss Franc bank note issued by the Swiss National Bank. In 1898, Hodler married Berthe Jacques. In 1914 he condemned the German atrocities conducted using artillery at Rheims. In retaliation for this, German art museums excluded Hodler's work. In 1908 he met Valentine Gode-Darel, who became his mistress. She was diagnosed with cancer in 1913, and the many hours Hodler spent by her bedside resulted in a remarkable series of paintings documenting her disintegration. Her death in January 1915 affected Hodler greatly. He occupied himself with work; a series of about 20 introspective self-portraits date from 1916. By late 1917 his declining health led him to thoughts of suicide. He died on May 19, 1918 in Geneva leaving behind a number of unfinished works portraying the city.