Related Paintings of unknow artist :. | Portrait of Queen Mariana de Austria as a Widow | Still life floral, all kinds of reality flowers oil painting 177 | European city landscape, street landsacpe, construction, frontstore, building and architecture. 122 | Arab or Arabic people and life. Orientalism oil paintings 168 | Floral, beautiful classical still life of flowers.048 |
Related Artists:
Raffaellino del garbo
Italian Early Renaissance Painter , ca.1466-1524 Italian painter and draughtsman. According to Vasari, he began as the most gifted assistant of Filippino Lippi and the most promising painter of the new generation but never fulfilled expectations, deteriorating into mediocrity and worse. Raffaellino's first known work is the frescoed vault of a small antechamber off Filippino Lippi's Carafa Chapel in S Maria sopra Minerva, Rome, uncovered during restoration in the 1960s. It was decorated with pagan themes, to Filippino's designs, apparently after the main chapel was completed in 1493. Filippino's influence is evident in the all'antica detail and animated figure style, to which Raffaellino brought a youthful freshness and charm. Vasari, in his account of the vault, likened it to an illuminator's work. It has been suggested that Raffaellino remained in Rome and worked with Bernardino Pinturicchio in the Borgia apartments in the Vatican, where some frescoes of 1495 show stylistic affinities with Raffaellino's work in S Maria sopra Minerva.
Marie-Guillemine Benoist
Paris 1768-1826 was a French neoclassical, historical and genre painter. She was born in Paris, the daughter of a civil servant. Her training as an artist began in 1781 under Élisabeth Vigee Le Brun, and she entered Jacques-Louis David's atelier in 1786 along with her sister Marie-Élisabeth Laville-Leroux. The poet Charles-Albert Demoustier, who met her in 1784, was inspired by her in creating the character Émile in his work Lettres Émilie sur la mythologie (1801). In 1791 she exhibited for the first time in the Salon de Paris, displaying her mythology-inspired picture Psych faisant ses adieux sa famille. Another of her paintings of this period, L'Innocence entre la vertu et le vice, is similarly mythological and reveals her feminist interests in this picture, vice is represented by a man, although it was traditionally represented by a woman. In 1793, she married the lawyer Pierre-Vincent Benoist. Her work, reflecting the influence of Jacques-Louis David, tended increasingly toward history painting by 1795. In 1800, she exhibited Portrait d'une negresse in the Salon. Six years previously, slavery had been abolished, and this image became a symbol for women's emancipation and black people's rights. This picture was acquired by Louis XVIII for France in 1818. An important commission, for a full-length portrait of Napol on Bonaparte Premier Consul Français in this period was awarded to her in 1803. This portrait was to be sent to the city of Ghent, newly ceded to France by the Treaty of Luneville in 1801. Other honors came to her; she was awarded a Gold Medal in the Salon of 1804, and received a governmental allowance. During this time she opened an atelier for the artistic training of women. Her career was harmed by political developments, however, when her husband, the convinced royalist count Benoist, was nominated in the Conseil d'État during the post-1814 monarchy come-back called the Bourbon Restoration.
majestas domini
Christ in Majesty, or Christ in Glory, in Latin Majestas Domini, is the Western Christian image of Christ seated on a throne as ruler of the world, always seen frontally in the centre of the composition, and often flanked by other sacred figures, whose membership changes over time and according to the context. The image develops from Early Christian art, which directly borrowed the formulae of depictions of the enthroned Roman Emperor. In the Byzantine world, the image developed slightly differently into the half-length Christ Pantocrator, "Christ, Ruler of All", a usually unaccompanied figure, and the Deesis, where a full-length enthroned Christ is entreated by Mary and St. John the Baptist, and often other figures. In the West, the evolving composition remains very consistent within each period until the Renaissance, and then remains important until the end of the Baroque, in which the image is ordinarily transported to the sky.