Related Paintings of unknow artist :. | Material and Dimensions | Portrait de Charles X en costume de sacre | Classical hunting fox, Equestrian and Beautiful Horses, 135. | Rastendes Beduinenpaar mit Araberpferden | Realistic Flowers |
Related Artists:
Jean-Germain Drouais
1763-1788 French Jean Germain Drouais Locations Son of Francois-Hubert Drouais. He trained first with his father and in 1778 enrolled at the Academie Royale, becoming a pupil of Nicolas-Guy Brenet. Around 1781 he entered Jacques-Louis David studio as one of his first pupils. The following year, though not officially entered for the competition, he painted that year Prix de Rome subject, the Return of the Prodigal Son (Paris, St Roch), presumably as a trial for his own edification. The picture has a friezelike composition and reveals both the influence of Jean-Francois Peyron and David as well as debts to Poussin and Italian 17th-century sources. In 1783 Drouais reached the Prix de Rome final with the Resurrection of the Son of the Widow of Nain (Le Mans, Mus. Tesse) but was eliminated from the competition in extraordinary circumstances: impatient to know his master opinion, Drouais cut a section off the canvas and smuggled it out of the competition rooms. David acknowledged it to be the best thing his favourite pupil had yet done, but by his hasty action Drouais had disqualified himself. However, the following year he won the prize, and great acclaim, with the Woman of Canaan at the Feet of Christ (Paris, Louvre), an extremely accomplished piece influenced by Poussin work and David Belisarius (Lille, Mus. B.-A.).
BALDUNG GRIEN, Hans
German Northern Renaissance Painter and Printmaker, ca.1484-1545
Miguel Cabrera
(1695-1768) was an indigenous Zapotec painter during the Viceroyalty of New Spain, today's Mexico. During his lifetime, he was recognized as the greatest painter in all of New Spain. He was born in Antequera, today's Oaxaca, Oaxaca, and moved to Mexico City in 1719. He may have studied under the Rodreguez Juerez brothers or Jose de Ibarra. Cabrera was a favorite painter of the Archbishop and of the Jesuit order, which earned him many commissions. His work was influenced by Bartolome Esteban Murillo and the French painting of his time. While Miguel is most famous for his Casta paintings and his portrait of the poet Sor Juana, he also executed one of the first portraits of St. Juan Diego. In 1752 he was permitted access to the icon of Our Lady of Guadalupe to make three copies: one for Archbishop Jose Manuel Rubio y Salinas, one for the Pope, and a third to use as a model for further copies. In 1756 he created an important early study of the icon of Our Lady of Guadalupe, Maravilla americana y conjunto de raras maravillas observadas con la direccien de las reglas del arte de la pintura The essential purpose of Maravilla Americana was to affirm the 1666 opinions of the witnesses who swore that the image of the Virgin was of a miraculous nature. However, he also elaborated a novel opinion: the image was crafted with a unique variety of techniques. He contended that the Virgin's face and hands were painted in oil paint, while her tunic, mandorla, and the cherub at her feet were all painted in egg tempera. Finally, her mantle was executed in gouache. He observed that the golden rays emanating from the Virgin seemed to be of dust that was woven into the very fabric of the canvas, which he asserted was of "a coarse weave of certain threads which we vulgarly call pita," a cloth woven from palm fibers. In 1753, he founded the second Academy of Painting in Mexico City and served as its director.