(Russian:29 October [O.S. 17 October] 1861 - 10 May [O.S. 27 April] 1904) was a Russian painter. His major works were devoted to life of ordinary Russians of the 17th century. Andrey Petrovich Ryabushkin was born in the village Stanichnaya sloboda, Borisoglebskiy uezd, Tambov gubernia in 1861. His father and brother were icon painters, and he started to help them from his early childhood. At 14 years old he became an orphan. A student of Moscow School of Painting, Sculpture and Architecture A. Kh. Preobrazhensky, who spent the summer in the village, happened to see the boyes drawings and was greatly impressed by them. He started to give him lessons and helped him to enter the Moscow School of Painting, Sculpture and Architecture. Ryabushkin was one of the youngest student of the school at all times. Ryabushkin stayed for seven years (1875-82) in the Moscow School, learning from Vasily Perov and Illarion Pryanishnikov. His first large work Peasant Wedding was bought by Pavel Tretyakov in 1880. After the death of Vasiliy Perov, Ryabushkin moved to Saint Petersburg in 1882, and entered the Imperial Academy of Arts where he learned from Pavel Chistyakov. The classes soon disappointed him, however, and he began to spend more and more time either in the library of the academy or sketching in the streets. His studies at the academy came to an end in 1892. He did not receive an award for his diploma work, Descent from the Cross, as was expected, because he did not follow the approved project. But the work was so good that the president of the academy, Grand Duke Vladimir Konstantinovich, provided Ryabushkin with a stipend for travel and studies abroad from his own means. Instead of going to Italy or Paris, Ryabushkin chose to make a tour of ancient Russian towns (Novgorod, Kiev, Moscow, Uglich, Yaroslavl). The inhabitants of them became his first models and his first critics.   Related Paintings of Andrei Ryabushkin :. | Diakon. Etude. | In der wundertatigen Ikone | Peasant Wedding in the Tambov guberniya | Novgorod Kirche | Warten auf das Brautpaar auf der Hochzeit in der Provinz Nowgorod |
Related Artists:
Lucas de Heere
1534-1584,Painter, tapestry designer, draughtsman and poet. He was probably trained by his parents. The suggestion that he became a member of the Ghent Guild of St Luke before 1540 was derived from an incorrect interpretation of the Guild records for 1574-5. Van Mander recorded that, as a boy, de Heere accompanied his father on his trips to the stone-quarries of the Meuse region, where he made topographical drawings. Lucas was sent to Frans Floris's studio c. 1555 or shortly before to complete his training, and he may have collaborated with his master on tapestry cartoons and stained-glass designs, although no cartoons or preparatory drawings survive. During this period de Heere also became noted as a poet in the local rhetoricians' chambers. His father's influence helped him to gain commissions in Ghent from 1555, and, according to Marcus van Vaernewijck (1568), he worked on new stained-glass windows for the St Janskerk in Ghent in the same year.
Bernardino Lanino
(1512 -1583 ) - Painter
Jacopo Robusti Tintoretto
1518-1594 Italian Tintoretto Galleries The real name of Tintoretto was Jacopo Robusti, but he is better known by his nickname, meaning the "little dyer, " his father having been a silk dyer. The artist was born in Venice and lived there all his life. Even though his painting is distinguished by great daring, he seems to have led a rather retired life, concerned only with his work and the well-being of his family. His daughter Marietta and his sons Domenico and Marco also became painters, and Domenico eventually took over the direction of Tintoretto's large workshop, turning out reliable but un-inspired pictures in the manner of his father. Some of them are, on occasion, mistaken for works of the elder Tintoretto. Tintoretto appears to have studied with Bonifazio Veronese or Paris Bordone, but his true master, as of all the great Venetian painters in his succession, was Titian. Tintoretto's work by no means merely reflects the manner of Titian. Instead he builds on Titian's art and brings into play an imagination so fiery and quick that he creates an effect of restlessness which is quite opposed to the staid and majestic certainty of Titian's statements. If Tintoretto's pictures at first sight often astonish by their melodrama, they almost inevitably reveal, at closer observation, a focal point celebrating the wonders of silence and peace. The sensation of this ultimate gentleness, after the first riotous impact, is particularly touching and in essence not different from what we find (although brought about by very different means) in the pictures of Titian and Paolo Veronese. Tintoretto was primarily a figure painter and delighted in showing his figures in daring foreshortening and expansive poses. His master in this aspect of his art was Michelangelo. Tintoretto is supposed to have inscribed on the wall of his studio the motto: "The drawing of Michelangelo and the color of Titian." Unlike Michelangelo, however, Tintoretto worked and drew very quickly, using only lights and shadows in the modeling of his forms, so that his figures look as if they had gained their plasticity by a kind of magic. In the rendering of large compositions he is reported to have used as models small figures which he made of wax and placed or hung in boxes so cleverly illuminated that the conditions of light and shade in the picture he was painting would be the same as those in the room in which it was to be hung.