Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.  Related Paintings of Caravaggio :. | Alof de Wignacourt and His Page (mk05) | Judith and Holofernes | card-players, c | Crucifixion of Saint Andrew | St.Francis in Ecstasy |
Related Artists:
jean Huber
Swiss Painter (b. 1721, Geneve, d. 1786, Bellevue) , Geneva1721-1786 Geneva1721-1786,Silhouettist, painter, draughtsman and printmaker. His paternal ancestors were patrician Genevese merchant bankers. As a young man he soldiered at Kassel in Germany and in Italy, where he fought for Savoy in the War of the Austrian Succession (1740-48). In 1752 he was elected to Geneva's Council of Two Hundred and served his native city as a magistrate. He had no formal artistic training, but from his youth he clipped out of paper or cards freehand profiles of a kind that later came to be called silhouettes.
James Smetham
1821-1889 was an English Pre-Raphaelite painter and engraver, a follower of Dante Gabriel Rossetti.[1] Smetham was born in Pateley Bridge, Yorkshire, and attended school in Leeds; he was originally apprenticed to an architect before deciding on an artistic career. He studied at the Royal Academy, beginning in 1843. His modest early success as a portrait painter was stifled by the development of photography (a problem shared by other artists of the time). In 1851 Smetham took a teaching position att the Wesleyan Normal College in Westminster; in 1854 he married Sarah Goble, a fellow teacher at the school. They would eventually have six children. Smetham worked in a range of genres, including religious and literary themes as well as portraiture; but he is perhaps best known as a landscape painter. His "landscapes have a visionary quality" reminiscent of the work of William Blake, John Linnell, and Samuel Palmer.[2] Out of a lifetime output of some 430 paintings and 50 etchings, woodcuts, and book illustrations, his 1856 painting The Dream is perhaps his best-known work. He was also an essayist and art critic; an article on Blake (in the form of a review of Alexander Gilchrist's Life of William Blake), which appeared in the January 1869 issue of the Quarterly Review,[3] influenced and advanced recognition of Blake's artistic importance. Other Smetham articles for the Review were "Religious Art in England" (1861), "The Life and Times of Sir Joshua Reynolds" (1866), and "Alexander Smith" (1868). He also wrote some poetry. Smetham was a devout Methodist, and after a mental breakdown in 1857, the second half of his life was marked by a growing religious mania and eventual insanity. "In one of his notebooks he attempted to illustrate every verse in the Bible."[4] (Smetham habitually created miniature, postage-stamp-sized pen-and-ink drawings, in a process he called "squaring." He produced thousands of these in his lifetime.) He suffered a final breakdown in 1877 and lived in seclusion until his death. Smetham's letters, posthumously published by his widow,[5] throw light upon Rossetti, John Ruskin, and other contemporaries, and have been praised for their literary and spiritual qualities.
Maurin, Charles
French, 1856-1914 was a French painter who practised a variety of styles. A notable symbolist work of his being Maternity, a study of motherhood. He was a friend of the painter Felix Vallotton.