Related Paintings of unknow artist :. | Jour de Fete a Venise | Legend of St Margaret | Fishermen and Farmers | The Delft City Wall with the Houttuinen | Kustbild med bat |
Related Artists:
FONTANA, Lavinia
Italian Painter, 1552-1614 Daughter of Prospero Fontana. She was trained by her father and followed his Mannerist style. Her first recorded works, which date from 1575, were small paintings for private devotion, such as the Holy Family (Dresden, Gemeldegal.). By 1577 she had become established as a portrait painter in Bologna. Works of this date include the Self-portrait at the Harpsichord (Rome, Gal. Accad. S Luca) and the portrait of Senator Orsini (Bordeaux, Mus. B.-A.). Her portrait style reflects the formality of central Italian models as well as the naturalistic tendencies of the north Italian tradition. The elegantly costumed Orsini is shown seated at a table, with a suite of rooms opening behind him, a setting recalling such Florentine portraits of the 1530s as Agnolo Bronzino's Bartolommeo Panciatichi (Florence, Uffizi). Lavinia used a similar setting for other portraits, including the Gozzadini Family (1584; Bologna, Pin. N.). Female sitters are also shown in elaborate dress, with particular attention paid to details of embroidery and jewels, and they are often accompanied by small dogs
Albert Fitch Bellows
Nov.29.1829-Nov.24.1883, American landscape painter of the Hudson River School, was born at Milford, Massachusetts. He first studied architecture and opened his own architectural firm in 1849, but quickly turned to painting. From 1850 to 1856 he taught at the New England School of Design in Boston. He resigned his post to travel and study abroad, and spent time in Paris and at the Royal Academy at Antwerp as well as in England. He exhibited his first work at the National Academy of Design in 1857, becoming a full member in 1861, and he settled in New York City in 1858 on his return to America. Bellows spent most of his remaining career in New York, though he briefly moved to Boston. He visited Europe again in 1867. In New York he kept a studio in the same building as many of the notable Hudson River School artists of the time. His landscape work of the 1860s is fully in the late Hudson River School tradition, though Bellows depicted people more prominently in his landscapes than most other artists. He excelled at figurative scenes. Bellows also differed from most Hudson River School artists in that he became skilled at watercolor, and authored a respected book on the subject titled "Water-Color Painting: Some Facts and Authorities in Relation to Its Durability". He eventually maintained two studios, one for oil paintings and one for watercolor. He was a member of the American Watercolor Society, and an honorary member of the Royal Belgian Society of Water-Colorists. Bellows also mastered etching??along with Samuel Colman he was possibly the only other Hudson River School artist to do so??and became a member of the New York Etching Club, the Philadelphia Society of Etchers and the Royal Society of Painter-Etchers and Engravers in London, England, an esteemed professional organization whose members included James McNeil Whistler and Francis Seymour Haden. He died in Auburndale,
James Mcneill Whistler
American Painter and Printmaker, 1834-1903 James Abbott McNeill Whistler's deft brushwork and mighty ego made him one of London's best-known painters in the second half of the 1800s. Born in Massachusetts, Whistler spent most of his adult life in England and France, in an era when an American artist in Europe was something of a rarity. He specialized in landscapes and (especially later in his career) portraits; stylistically he is often linked with Claude Monet and August Renoir, though he was not exactly part of the Impressionist movement. His etchings also are highly regarded. Witty, cranky and a bit of a devil, Whistler was a regular gadabout in British society. He had a famous long-running feud with the playwright Oscar Wilde, each of them trying to outwit the other with cutting public remarks. Some critics of the era considered Whistler's work to be smudgy and too radical; after viewing Whistler's 1875 study of fireworks over the Thames, Nocturne in Black and Gold: the Falling Rocket, John Ruskin wrote: "I have seen, and heard, much of cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face." Whistler successfully sued Ruskin for libel but was awarded only a farthing in damages,