Flemish Northern Renaissance Painter, ca.1488-1541, Painter and tapestry designer, son of Valentin van Orley. He was one of the greatest proponents of ROMANISM, a northern style based on the ideals of the Italian Renaissance. It must have been in Brussels, however, that he saw the Italian works of art that influenced him so profoundly, for it seems unlikely that he ever travelled to Italy. Brussels was then world-renowned as the centre for tapestry manufacture but was suffering from the ecliptic rise of Antwerp as the pre-eminent painting centre. The artist made the best of both situations, establishing himself as a leading designer for the Brussels tapestry industry and as a master in the Antwerp Guild of St Luke by 1517.   Related Paintings of Bernaert Van Orley :. | Triptych of Virtue of Patience | Triptych of Virtue of Patience | Altar to SS Thomas and Matthias | Altarpiece of Calvary | Altarpiece of Calvary |
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Ettore Tito
(17 December 1859-26 June 1941) was an Italian artist particularly known for his paintings of contemporary life and landscapes in Venice and the surrounding region. He trained at the Accademia di Belle Arti in Venice and from 1894 to 1927 was the Professor of Painting there. Tito exhibited widely and was awarded the Grand Prize in painting at the 1915 Panama CPacific International Exposition in San Francisco. In 1926 he was made a member of the Royal Academy of Italy. Tito was born in Castellammare di Stabia in the province of Naples and died in Venice, the city which was his home for most of his life.
Sawrey Gilpin
1733-1807 English Sawrey Gilpin Gallery Gilpin was born 30 Oct 1733 in Cumbria, the son Captain John Bernard Gilpin, a soldier and amateur artist. His elder brother William Gilpin was a clergyman, schoolmaster, and author of several influential works on picturesque scenery. Apprenticed to the marine painter Samuel Scott of Covent Garden, Sawrey came to specialise in painting animals, particularly horses and dogs, which he sometimes added to backgrounds by other artists, including Philip Reinagle, George Barret and J. M. W. Turner. He was patronised by Prince William Augustus, Duke of Cumberland. Gilpin was Director and President of the Society of Artists, and a member of the Royal Academy from 1796. Sawrey Gilpin married Elizabeth Broom; their son William Sawrey Gilpin also became an artist, and in later life a landscape gardener. He died at Broughton, Northamptonshire, England in 1807. Works by Sawrey Gilpin are in the collections of the Courtauld Institute of Art , Tate Britain [3], and the Royal Academy in London and the Fitzwilliam Museum, Cambridge.
Ljubov Popova
Russian Constructivist Painter and Designer, 1889-1924 Through a synthesis of styles Popova worked towards what she termed painterly architectonics. Exploring firstly Impressionism, by 1913, in Composition with Figures, she was experimenting with the particularly Russian development of Cubo-Futurism: a fusion of two equal influences from France and Italy. Portrait of a Philosopher (Artists's brother, Pavel Sergeyevich Popov), 1915From 1914-1915 her Moscow home became the meeting-place for artists and writers. In 1914-1916 Popova together with other avant-garde artists (Aleksandra Ekster, Nadezhda Udaltsova, Olga Rozanova) contributed to the two Jack of Diamonds exhibitions, then in Petrograd Tramway V and the 0.10, The Store in Moscow. In 1916 she joined the Supremus group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others who at this time worked in Verbovka Village Folk Centre. However there was a tension between those who like Malevich saw art as a spiritual quest and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the early aims of the Revolution working in poster, book design, fabric and theatre design, as well as teaching. Her painting The Violin of 1914 reveals the development from cubism towards the "painterly architectonics" of 1917- 1918. Before joining the Supremus group her paintings, the architectonic series defined her artistic trajectory, quite distinct from that of Malevich, Rozanova, Tatlin and Mondrian, in abstract form. The canvas surface is an energy field of overlapping and intersecting angular planes in a constant state of potential release. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. By 1918 colour is used as the iconic focus; the strong primary colour at the centre drawing the outer shapes together. In 1918 Popova married von Eding, and gave birth to a son, but von Eding died the following year of typhoid fever. She worked on Agitprop designs, and in 1919 she contributed to Tenth State Exhibition: Non Objective Creativity and Suprematism. She painted more advanced abstract works in 1919-21. In 1921 she exhibited in the 5 x 5 Exhibition. From 1921-24 Popova became active in Constructivist projects, sometimes in collaboration with the architect Alexander Vesnin. She was active in stage designs: Vsevolod Meyerhold's production of Fernand Crommeldynck's The Magnanamous Cuckold, 1922; and in teaching: Spatial Force Constructions were used as the basis of an art teaching theory. She designed typography of books, production art and textiles, and contributed designs for dresses to LEF. Popova died in Moscow. A large exhibition of her work opened in Moscow on 21 December 1924.