(8 May 1850 ?C 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira, the countrymen that are a kind of a symbol of the rural areas of the São Paulo state. While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiet?? River. Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters. He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting. He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.   Related Paintings of Almeida Junior :. | Seascape | Tightening the Harness | Victorino Carmilo | Apostolo Sao Paulo | Ezequiel Freire |
Related Artists:
Olof Sager-Nelson
painted Flicka pa blomsterang in 1889
Andrea Soldi
Italian C1703-1771 Italian painter. George Vertue, the only source for Soldi's earliest years, described him in 1738 as a Florentine aged 'about thirty-five or rather more' who had been in England 'about two years'. He had previously been in the Middle East, where he painted some British merchants of the Levant Company who had advised him to go to London. Two three-quarter-length portraits called Thomas Sheppard (1733 and 1735-6; ex-art market, London, 1917 and 1924, see Ingamells, 1974) belong to this period. In London Soldi enjoyed considerable success in the period between 1738 and 1744; Vertue reported that he began 'above thirty portraits' between April and August 1738. He was extensively patronized by the 2nd and 3rd Dukes of Manchester (eight portraits, sold Kimbolton Castle, Cambs, 18 July 1949), the 3rd Duke of Beaufort (four portraits at Badminton House, Glos) and the 4th Viscount Fauconberg (eight portraits at Newburgh Priory, N. Yorks). The seated three-quarter-length of Isabella, Duchess of Manchester, as Diana (1738; London, Colnaghi's, 1986) and the informal full-length of Lord Fauconberg (c. 1739; Newburgh Priory, N. Yorks) exemplify his lively handling, strong colour and theatrical, Italianate imagination. In a less extravagant vein, the Duncombe Family (1741; priv. col., see Ingamells, 1974), a conversation piece of some charm, and the Self-portrait (1743; York, C.A.G.) suggest a versatile talent. Soldi's bravura contrasted with contemporary English portrait practice, then wavering between the sober manner of Kneller and a playful Rococo, and his attraction for Italianate Englishmen was obvious. He was rivalled only by Jean-Baptiste van Loo, who was in London between 1737 and 1742; both artists painted the dealer Owen McSwiny and the poet Colley Cibber about 1738. He far outclassed his Italian rivals, the Cavaliere Rusca (1696-1769), who worked in London from 1738 to 1739, and Andrea Casali, who was in London from 1741 to 1766.
august jerdorff