Related Paintings of unknow artist :. | Moses and the israelites with the ark | Portrait of Ludwig van Beethoven | Oil painting of Minnesota Governor John A. Johnson | Claude de Siffredy, first governor of the Citadel of Strasbourg, | Psalter of St Louis |
Related Artists:
Ventura Salimbeni
(also later called Bevilacqua; 20 January 1568 - 1613) was an Italian Mannerist painter and printmaker and among the last representatives of a style influenced by the earlier Sienese School of Quattrocento-Renaissance. Salimbeni was born in Siena. He studied painting, together with his half-brother Francesco Vanni, under their father Arcangelo Salimbeni in his native Siena, He possibly spent some time,in Northern Italy and then moved to Rome in 1588 to work, together with others, on the fresco painting of the Vatican Library under pope Sixtus V. During 1590-1591, he got a commission by Cardinal Bonifazio Bevilacqua Aldobrandini for paintings in the Roman Jesuit Church of the Gese and the Basilica di Santa Maria Maggiore. These paintings show the influence of the Mannerist Cavalier D'Arpino and Andrea Lillio. Salimbeni returned to Siena in 1595. Here he became one of the last leaders of the Mannerist school, in this period between Mannerism and Baroque. He was here influenced by Federico Barocci as can be seen in the draperies, highlighted with abrupt changes of light and flickering surfaces, of his painting "Birth of a Virgin" in the San Domenico church in Ferrara (1607-1608). He completed painting cycles (1595-1602) for Sienese churches such as the oratory in the Santa Trinite. He is known for detailed preparatory drawings, most of which are now in the Uffizi in Florence or the Fine Arts Museum of San Francisco. He started around 1600 painting the scenes from the "Life of St. Hyacinth" for the Sienese church of Santo Spirito. These paintings show the awkward perspective of the style of the Sienese Mannerist painter Beccafumi in the backdrop of buildings and landscape. In Siena, Salimbeni completed several painting cycles for the church of Santo Spirito. He continued to create paintings for churches throughout Italy, including Florence. At the Basilica della Santissima Annunziata di Firenze, he frescoed lunettes (1605-1608) illustrating events in the history of the Servite Order. In the Duomo di San Salvatore, he executed a magnificent John the Baptist. At about the same time, around 1600, he got an assignment in Assisi for a fresco of the "Resurrection of Christ" and the "Dying Saint Clare is visited by the pope" in the vault of chapel of San Massimo in the Basilica of Santa Maria degli Angeli. Salimbeni got in 1603 the commission to paint frescoes with scenes from the church's patron saints in the church of Quirico and Giulitta, one of the oldest churches in Siena. As in the church of Santa Trinite, he worked here alongside with the painter Alessandro Casolari. This was a period on non-stop new assignments : three paintings for the church San Lorenzo in San Pietro in Montalcino, the "Donation of the Keys" (1599), the "Disputa of the Eucharist" (1600) and the "Crucifixion" (1604). At the same time he was painting the "Vision of Gregory the great" and the "Punishment of David" in the Basilica of San Pietro in Perugia. The papal legate, cardinal Bonifazio Bevilacqua (1571-1627), who had commissioned these paintings, was so pleased that he invested Ventura Salimbeni with the Order of the Golden Spur, a very selective papal order. He was even authorized from now on to name himself Cavalieri Bevilacqua. He painted the canvas of the Ascension of the Virgin (1607) for San Frediano in Pisa. In 1612 he painted the "Life of Saint Galganus" for the Chiesa del Santuccio in Siena with the hermit saint set in a wooded landscape. His last work of art was the oil painting the "Marriage of the Virgin" for the Seminario diocesano in Foligno in 1613.
Frederick Mccubbin
Australian Painter, 1855-1917 By the early 1880s, his work began to attract considerable attention and won a number of prizes from the National Gallery, including a 30-pound first prize in 1883 in their annual student exhibition, and by the mid-1880s began to concentrate more on the works of the Australian bush which made him most famous. In 1883, he received first prize in the first annual Gallery students' exhibition, for best studies in colour and drawing. In 1888, he became instructor and master of the School of Design at the National Gallery. In this position he taught a number of students who themselves became prominent Australian artists, including Charles Conder and Arthur Streeton. He continued to paint through the first two decades of the 20th century, though by the beginning of World War I his health began to fail. He travelled to England in 1907 and visited Tasmania, but aside from these relatively short excursions lived most of his life in Melbourne. McCubbin married Annie Moriarty in March, 1889. They had seven children, of whom their son Louis also became an artist. In 1901 McCubbin and his family moved to Mount Macedon, where he was inspired by the surrounding bush and has experimented with the light and its effects on colour in nature. In 1912,
Elizabeth Siddal
British Pre-Raphaelite Artist , 1829-1862 was a British artists' model, poet and artist who was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood. Siddal was perhaps the most important model to sit for the Pre-Raphaelite Brotherhood. Their ideas about feminine beauty were profoundly influenced by her, or rather she personified those ideals. She was Dante Gabriel Rossetti's model par excellence; almost all of his early paintings of women are portraits of her. She was also painted by Walter Deverell, William Holman Hunt and John Everett Millais, and was the model for Millais' well known Ophelia (1852). Named Elizabeth Eleanor Siddall, after her mother, Lizzie was born on 25 July, 1829, at the family??s home at 7 Charles Street, Hatton Garden. She was born to Charles Siddall and Eleanor Evans, a family of English and Welsh descent. At the time of Lizzie??s birth, her parents were not poverty stricken. Her father had his own cutlery-making business. Around 1831, the Siddall family moved to the borough of Southwark, in south London, a less salubrious area than Hatton Garden. It was in Southwark that the rest of Lizzie??s siblings were born: Lydia, to whom Lizzie was particularly close, Mary, Clara, James and Henry. Although there is no record of her having attended school, Lizzie was able to read and write, presumably having been taught by her parents. She developed a love of poetry at a young age, after discovering a poem by Tennyson on a scrap of newspaper that had been used to wrap a pat of butter. This discovery was one of Lizzie??s inspirations to start writing her own poetry. Model for the Pre-Raphaelites Siddal, whose name was originally spelt 'Siddall' (it was Rossetti who dropped the second 'l') was first noticed by Deverell in 1849, while she was working as a milliner in Cranbourne Alley, London. She was the daughter of Charles Crooke Siddall, a cutler who claimed that his family descended from nobility, and his wife Elizabeth Eleanor Evans Siddall. Neither she nor her family had any artistic aspirations or interests. She was employed as a model by Deverell and through him was introduced to the Pre-Raphaelites. The twenty-year-old with her tall thin frame and copper hair was the first of the Pre-Raphaelite stunners. William Michael Rossetti, her brother-in-law, described her as "a most beautiful creature with an air between dignity and sweetness with something that exceeded modest self-respect and partook of disdainful reserve; tall, finely-formed with a lofty neck and regular yet somewhat uncommon features, greenish-blue unsparkling eyes, large perfect eyelids, brilliant complexion and a lavish heavy wealth of coppery golden hair.