Related Paintings of unknow artist :. | Seascape, boats, ships and warships. 119 | Detail of The Family of Henry Viii | Classical hunting fox, Equestrian and Beautiful Horses, 080. | Jorge of Antioquia at the age of feet of the virgin | Still life floral, all kinds of reality flowers oil painting 101 |
Related Artists:
Martin, Henri
French Post-Impressionist Painter, 1860-1943 French painter. After winning the Grand Prix at the Ecole des Beaux-Arts in Toulouse, he moved to Paris (1879) to study at the Ecole des Beaux-Arts there under Jean-Paul Laurens, who encouraged his interest in Veronese and other Venetian painters. The literary inspiration of his early work was reflected in such paintings as Paolo de Malatesta and Francesca da Rimini in Hell (1883; Carcassonne, Mus. B.-A.) based on Dante, for which he won a medal at the Salon of 1883. During his subsequent study in Rome, however, on a fellowship awarded to him at the Salon,
MAGNASCO, Alessandro
Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,
Andrei Ryabushkin
(Russian:29 October [O.S. 17 October] 1861 - 10 May [O.S. 27 April] 1904) was a Russian painter. His major works were devoted to life of ordinary Russians of the 17th century. Andrey Petrovich Ryabushkin was born in the village Stanichnaya sloboda, Borisoglebskiy uezd, Tambov gubernia in 1861. His father and brother were icon painters, and he started to help them from his early childhood. At 14 years old he became an orphan. A student of Moscow School of Painting, Sculpture and Architecture A. Kh. Preobrazhensky, who spent the summer in the village, happened to see the boyes drawings and was greatly impressed by them. He started to give him lessons and helped him to enter the Moscow School of Painting, Sculpture and Architecture. Ryabushkin was one of the youngest student of the school at all times. Ryabushkin stayed for seven years (1875-82) in the Moscow School, learning from Vasily Perov and Illarion Pryanishnikov. His first large work Peasant Wedding was bought by Pavel Tretyakov in 1880. After the death of Vasiliy Perov, Ryabushkin moved to Saint Petersburg in 1882, and entered the Imperial Academy of Arts where he learned from Pavel Chistyakov. The classes soon disappointed him, however, and he began to spend more and more time either in the library of the academy or sketching in the streets. His studies at the academy came to an end in 1892. He did not receive an award for his diploma work, Descent from the Cross, as was expected, because he did not follow the approved project. But the work was so good that the president of the academy, Grand Duke Vladimir Konstantinovich, provided Ryabushkin with a stipend for travel and studies abroad from his own means. Instead of going to Italy or Paris, Ryabushkin chose to make a tour of ancient Russian towns (Novgorod, Kiev, Moscow, Uglich, Yaroslavl). The inhabitants of them became his first models and his first critics.