Warsaw 1850-1901 Rome, Brother of Maks Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868-73) at the Akademie der Bildenden Kenste in Munich under Georg Hiltensperger (1806-90) and Alexander Strehuber (1814-82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare's Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother Maks to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome.   Related Paintings of Aleksander Gierymski :. | WidokNaWawel | Amalfi Cathedral | Das Meer | Krajobraz z cyprysami | Wittelsbacher Square during the night. |
Related Artists:
Emile Munier
was a French academic artist and student of William-Adolphe Bouguereau. Emile Munier was born in Paris and lived with his family at 66 rue des Fosses, St. Marcel. His father, Pierre François Munier, was an artist upholsterer at the Manufacture Nationale des Gobelins and his mother, Marie Louise Carpentier, was a polisher in a cashmere cloth mill. Emile and his two brothers, François and Florimond, were gifted artists and each spent some time at the Gobelins. During Emile's training he developed a close relationship with his professor Abel Lucas and his family. He eventually married Abel's daughter Henriette. During the 1860s, Munier received three medals at the Beaux-Arts and in 1869 he exhibited at the Paris Salon. He became a great supporter of the Academic ideals and a follower of Bouguereau, whose subject matter would be an important inspiration to the young Munier. In 1867, Henriette gave birth to a son, Emile Henri. Six weeks after the birth, having contracted severe rheumatism, Henriette died prematurely. In 1871, Munier abandoned his career as an upholsterer and devoted his time solely to painting; he also began teaching classes to adults three nights a week. Sargine Augrand, a student of Abel Lucas and a close friend of Emile and Henriette (before she died), caught Emile eye; they married in 1872 and lived in a small apartment and studio. Munier frequented the studio of Bouguereau, and they became friends. In 1885 he painted, and exhibited at the Paris Salon, Trois Amis (Favourite Pets). This painting, representing a chubby girl playing on her bed with a kitten and a dog, was an extremely successful work, being reproduced in many forms and used for publicity posters by Pears Soap. With this work, Emile asserted himself as one of inters of young children and their pets; it was eventually acquired by an American collector. Among his many American patrons were Chapman H. Hyams and his wife, who were important collectors of contemporary French paintings during the 19th century and favored artists like Henner, Bouguereau, Gerôme, Vinel and Schreyer. Munier painted their portrait in 1889, and it, along with much of their collection, is now in the New Orleans Museum of Art. During the 1890s Munier continued to paint peasant, mythological and religious subjects. In 1893 he exhibited L'esprit de la chute d'eau, at the Paris Salon, a nude nymph whom is not unlike Naissance de Venus by Bouguereau.
Pietro Antonio Lorenzoni
Pietro Antonio Lorenzoni (1721 - 1782) was an Italian painter who is believed to have painted several portraits of Wolfgang Amadeus Mozart and his family: "The Boy Mozart" (1763), his sister Maria Anna Mozart in "Nannerl as a Child" (1763) and a portrait of their father Leopold Mozart (c. 1765). He arrived in Salzburg, Austria in the 1740s and first wanted to paint Wolfgang and Nannerl. His protege, Johann Nepomuk della Croce, painted a Mozart family portrait in 1780.
RICCI, Marco
Italian Painter, 1676-1730 Painter, printmaker and stage designer, nephew of (1) Sebastiano Ricci. He probably began his career in Venice in the late 1690s as his uncle's pupil, concentrating on history paintings (untraced). Having murdered a gondolier in a tavern brawl, he fled to Split in Dalmatia, where he remained for four years and was apprenticed to a landscape painter (Temanza, 1738). Once back in Venice (c. 1700) he put this training to use in painting theatrical scenery. Little is known about his early development, and it remains difficult to establish a chronology for his work. A group of restless, romantic landscapes (examples, Leeds, Temple Newsam House; Padua, Mus. Civ.), painted with lively, free strokes and formerly thought to represent his early period, have now been convincingly attributed (Moretti) to Antonio Marini (1668-1725). His earliest dated works, a tempera painting, View with Classical Ruins (1702; priv. col.), and a Landscape with Fishermen (1703; ex-Kupferstichkab., Berlin; untraced), are serene and classical, close in style to tempera paintings generally dated 1710-30. This suggests that Ricci's style did not develop much, and that strong classicizing tendencies,