1829-1912  Related Paintings of william r clark :. | nansen har sjalv gjort den har teckningen av manringar och skuffmanar under en palarnatt i november 1893 | for manga manniskor kan bergsklattring tyckas vara en egendomlig sysselsattning men drigten att ga dar ingen manniska gatt forut,att ansran ga sina fy | sir aurel stin agnade en stor del av sitt liv at att utforska gamla stader som var begravda under okensanden i centralasien | stanleys stora och valbevapnade expedition marscherar forbi rader rader av fientliga afrikaner | t v detta medeltida manuskripda man uskript visar hur alexander forstor falska gudar |
Related Artists:
Elisabeth Warling
painted Strandvagen-Stockholm in 1874
Giovanni Battista Piazzetta
(also called Giambattista Piazzetta or Giambattista Valentino Piazzetta) (February 13, 1682 or 1683 ?C April 28, 1754) was an Italian rococo painter of religious subjects and genre scenes. Piazzetta was born in Venice, the son of a sculptor Giacomo Piazzetta, from whom he had early training in wood carving. Starting in 1697 he studied with the painter Antonio Molinari. By Piazzetta's account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703-05, although there is no record by Crespi of formal tutelage. Piazzetta did find inspiration in Crespi's art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm. He was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino. Around 1710, he returned to Venice. There he won recognition as a leading artist despite his limited output and his unassuming nature, but he ultimately was less patronized, both in Venice and especially abroad, than two other eminent stars in Venetian late-Baroque/Rococo, Ricci and Tiepolo. These two painters had a luminous palette and facile ease that allowed them to carpet meters of ceiling with frescoes, although with a superficiality and glamor that is absent from Piazzetta's darker and more intimate depictions. Nonetheless,Tiepolo, who collaborated with Piazzetta on some projects, was greatly influenced by the older artist; in turn, the luminosity and brilliance of Tiepolo's palette would influence Piazzetta in his later years. Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer(1740, now in Gallerie dell'Accademia, Venice). He brought similar elusiveness to works of a religious nature, such as the Sotto in su Glory of St. Dominic in the Church of Santi Giovanni e Paolo. Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. He also produced engravings. In 1750 Piazzetta became the first director of the newly founded Scuola di Nudo, and he devoted himself in the last few years of his life to teaching. He was elected a member of the Bolognese Accademia Clementina in 1727. Among the painters in his studio were Domenico Maggiotto, Francesco Dagiu (il Capella), John Henry Tischbien the Elder, Egidio Dall'Oglio, and Antonio Marinetti.[1] Among younger painters who emulated his style are Giulia Lama, Federico Bencovich, and Francesco Polazzo (1683?C1753). He died in Venice in 1754.
SALUCCI, Alessandro
Italian painter, Roman school (b. 1590, Firenze, d. 1655/60, Roma). Italian painter. He specialized in imaginary architectural perspectives and harbour views, in which the figures were executed by other artists, most notably Jan Miel and Michelangelo Cerquozzi. His pictures were praised by contemporary and near contemporary writers, including Carlo Malvasia, and during the 17th century were popular with private collectors in both Florence and Rome. However, many of the paintings mentioned in contemporary sources remain untraced. He is first documented in Rome in 1628, when, with Andrea Sacchi and Pietro da Cortona, he worked on the fresco decorations of the Villa Sacchetti (now Chigi), Castelfusano (nr Ostia), to which he contributed personifications of the River Nile and the River Rh?ne (in situ). He became a member of the Accademia di S Luca in Rome in 1634, and after 1635 he was engaged on frescoes (in situ) depicting sacred subjects in S Maria in Vallicella, Rome. From the mid-1630s onward Salucci collaborated with Miel on the imaginary architectural subjects for which he is best known, including the Perspective with Portico