Italian Expressionist Painter and Sculptor, 1884-1920 Amedeo Clemente Modigliani (July 12, 1884 ?C January 24, 1920) was an Italian artist of Jewish heritage, practicing both painting and sculpture, who pursued his career for the most part in France. Modigliani was born in Livorno (historically referred to in English as Leghorn), in northwestern Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and art movements, and by primitive art, Modigliani's œuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis, exacerbated by poverty, overworking, and an excessive use of alcohol and narcotics, at the age of 35.  Related Paintings of Amedeo Modigliani :. | Head of a young woman | Petite route de Toscane (mk38) | Blue Eyes | Moise Kisling (mk39) | Junge Frau |
Related Artists:
Juan Antonio Escalante
Spanish Baroque Era Painter, 1633-1670 Spanish painter. He was an outstanding figure in decorative Baroque art. When quite young he moved from Andalusia to Madrid, where he apparently worked with and was influenced by Francisco Rizi. His artistic development reveals an increasing admiration for Veronese, Tintoretto and Titian, although elements of the style of Alonso Cano persist. Among his first works is Andromeda and the Dragon (c. 1659; Madrid, Prado), whose mannerist elements derive from an engraving of the subject by Agostino Carracci. The two brilliant works St Catherine of Alexandria (Madrid, Las Maravillas) and Road to Calvary (Madrid, Real Acad. S Fernando), signed and dated 1660, are executed with an agile and self-assured technique, in colours that stem from Venetian painting. Like other Spanish painters of the period, he painted numerous versions of the Immaculate Conception (e.g. 1660, Colegio de Villafranca de los Barros; 1663, Budapest, Mus. F.A.; c. 1666, Benedictine monastery of Lumbier, Navarre), which are more Baroque in style and expression than those of Jose Antolenez and Mateo Cerezo. In these the faces, surrounded by luxuriant hair, is expressed an innocent candour that contrasts with the turbulent appearance of the cherubs. Also characteristic of his style are the versions of the Annunciation (1653; New York, Hisp. Soc. America Mus; B?ziers, Mus. B.-A.). He treated the theme of St Joseph with great nobility, as in the Dream of St Joseph (1666; New York, Chrysler Col.). His deep lyrical feelings pervade the various paintings of the Infant St John (Madrid, Prado).
POUSSIN, Nicolas
French Baroque Era Painter, 1594-1665 French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response,
CIGNANI, Carlo
Italian Baroque Era Painter, 1628-1719 Italian painter and draughtsman. He was the leading master in Bologna during the later decades of the 17th century, commanding a position of authority comparable to that of Carlo Maratti in Rome. He bore the title of Conte, and his biographer Giovan Pietro Zanotti wrote that he 'always worked for glory, not for need'. Zanotti's emphasis on Cignani's 'new manner' refers to the reflective, intimate mood of his art, presaged in the later pictures of Guido Reni and Guercino, and in those of Simone Cantarini. This gentle manner, which prevailed in the second half of the 17th century,