Italian High Renaissance Painter, ca.1430-1516 Giovanni Bellini (c. 1430 ?C 1516) was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini, and his brother-in-law was Andrea Mantegna. He is considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian.  Related Paintings of BELLINI, Giovanni :. | The Feast of the Gods | Dead Christ in the Sepulchre (Pieta) | Portrait of a Young Man 3iti | Madonna with Child 705 | Angel Announcing and Virgin Announciated uiol |
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Marie Spartali Stillman
English Pre-Raphaelite Painter, 1844-1927 was a British Pre-Raphaelite painter of Greek descent, arguably the greatest female artist of that movement. During a sixty-year career she produced over one hundred works, contributing regularly to galleries in Great Britain and the United States. Maria Spartali was the youngest daughter of Michael Spartali, a wealthy merchant and Greek consul-general based in London, and his wife Euphrosyne. She and her cousins Maria Zambaco and Aglaia Coronio were known collectively among friends as "the Three Graces", after the Charites of Greek mythology (Aglaia, Euphrosyne and Thalia), as all three were noted beauties of Greek heritage. Swinburne said of Spartali: "She is so beautiful that I want to sit down and cry". Spartali studied under Ford Madox Brown for several years from 1864, with his children Lucy, Catherine and Oliver. She modelled for: Brown; Burne-Jones (The Mill); Julia Margaret Cameron; Rossetti (A Vision of Fiammetta, Dante's Dream, The Bower Meadow); Spencer Stanhope; and Whistler (La Princesse du Pays de la Porcelaine). In 1871, against her parents' wishes, she married American journalist and painter William J. Stillman. She was his second wife, his first having committed suicide two years before. His job as a foreign correspondent resulted in the couple dividing their time between London and Florence from 1878 to 1883, and then Rome from 1889 to 1896.
Guido Cagnacci
(January 19, 1601 - 1663) was an Italian painter of the late-Baroque period, belonging to the Forle painting school and to the Bolognese School. Born in Santarcangelo di Romagna near Rimini, he died in Vienna in 1663. He worked in Rimini from 1627 to 1642. After that, he was in Forle, where absorbed the lesson of the Melozzo's painting. Prior to that he had been in Rome, in contact with Guercino, Guido Reni and Simon Vouet. He may have had an apprenticeship with the elderly Ludovico Carracci. His initial output includes many devotional subjects. But moving to Venice under the name of Guico Baldo Canlassi da Bologna, he renewed a friendship with Nicolas Regnier, and dedicated himself to private salon paintings, often depicting sensuous naked women from thigh upwards, including Lucretia, Cleopatra, and Mary Magdalene.This allies him to a strand of courtly painting, epitomized in Florence by Francesco Furini, Simone Pignoni and others. In 1650, he moved to Venice. In 1658, he traveled to Vienna, where he remained under patronage of the emperor Leopold I. His life was at times tempestuous, as characterized by his failed elopement (1628) with an aristocratic widow. Some contemporaries remark him as eccentric, unreliable and of doubtful morality. He is said to have enjoyed the company of cross-dressing models.
Thomas Couture
1815-1879 French Thomas Couture Location French painter and teacher. A student of Antoine-Jean Gros in 1830-38 and Paul Delaroche in 1838-9, he demonstrated precocious ability in drawing and was expected to win the Prix de Rome. He tried at least six times between 1834 and 1839, but achieved only second prize in 1837 (entry untraced). Disgusted with the politics of the academic system, Couture withdrew and took an independent path. He later attacked the stultified curriculum of the Ecole des Beaux-Arts and discouraged his own students from entering this institution. He first attained public notoriety at the Paris Salon with Young Venetians after an Orgy (1840; Montrouge, priv. col., see Boime, p. 85), the Prodigal Son (1841; Le Havre, Mus. B.-A.) and the Love of Gold (1844; Toulouse, Mus. Augustins). These early canvases are treated in a moralizing and anecdotal mode; the forms and compositional structures, like the debauched and corrupt protagonists, are sluggish and dull. Yet what made his work seem fresh to the Salon audience was his use of bright colour and surface texture derived from such painters as Alexandre-Gabriel Decamps and Eugene Delacroix, while his literary bent and methodical drawing demonstrated his mastery of academic tradition. The critics Thophile Gautier and Paul Mantz (1821-95) proclaimed him as the leader of a new school that mediated between the old and the new, and looked to him for a revitalization of Salon painting. The air of compromise his works projected made him appear a cultural representative of the juste milieu policies of Louis-Philippe.