Italian Rococo Era Painter, 1697-1768 Italian painter, etcher and draughtsman. He was the most distinguished Italian view painter of the 18th century. Apart from ten years spent in England he lived in Venice, and his fame rests above all on his views (vedute) of that city; some of these are purely topographical, others include festivals or ceremonial events. He also painted imaginary views (capriccios), although the demarcation between the real and the invented is never quite clearcut: his imaginary views often include realistically depicted elements, though in unexpected surroundings, and in a sense even his Venetian vedute are imaginary. He never merely re-created reality. He was highly successful with the English, helped in this by the British connoisseur JOSEPH SMITH, whose own large collection of Canaletto works was sold to King George III in 1762. The British Royal Collection has the largest group of his paintings and drawings.  Related Paintings of Canaletto :. | The Molo with the Library and the Entrance to the Grand Canal f | Piazza S.Marco verso la basilica,dall'angolo nord-oves (mk21) | View from the Right Bank of the Elbe | Old Walton Bridge ff | The Piazzetta: Looking North, the Campanile under Repair bdr |
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franz schubert
Period: Romantic (1820-1869) Country: Austria Born: January 31, 1797 in Vienna, Austria Died: November 19, 1828 in Vienna, Austria Genres: Chamber Music, Choral Music, Concerto, Keyboard Music, Miscellaneous Music, Opera, Orchestral Music, Symphony, Vocal Music
ANGUISSOLA Sofonisba
Italian Mannerist Painter, 1532-1625 The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century. This new direction is reflected in Lucia, Minerva and Europa Anguissola Playing Chess (1555; Poznan, N. Mus.) in which portraiture merges into a quasi-genre scene, a characteristic derived from Brescian models.
Shalva Kikodze
Shalva Kikodze (Georgian: შალვა ქიქოძე) (1894 - 1921) was a Georgian expressionist painter, graphic artist and theatre decorator. Together with Lado Gudiashvili and David Kakabadze, he is considered a key figure in Georgian art of the early 20th century. He was born in a remote Georgian village Bakhvi, Guria, then part of the Russian Empire. From 1914 to 1918, he studied at Moscow School of Painting, Sculpture and Architecture. In 1916, he took part in an expedition to the Georgian village Nabakhtevi and made copies of the 15th-century murals from the local church. He stayed in his motherland for a short period of 1918-1920, and worked chiefly as a theater decorator for Jabadari Theater in Tbilisi. Afterwards he moved to Paris, where he, together with his fellow painters, Gudiashvili and Kakabadze, held an exhibition in 1921. He died in Freiburg, Germany, on November 7, 1921