American Painter, 1864-1926 American painter and sculptor. In 1880 he left his upper-class home in St Louis for Montana Territory. He worked briefly on a sheep ranch, spent two years as a hunter's and trapper's assistant and then became a cowboy. During his considerable spare daytime hours he painted, sketched and modelled small animal figures in clay (e.g. Antelope, 1915; Fort Worth, TX, Amon Carter Mus.). Although he painted a few exceptional oils and watercolours prior to 1900, the vast majority of his best work was done in the last two decades of his life. Typically the subject-matter centres around cowboy life (e.g. Wagon Boss, 1909; Tulsa, OK, Gilcrease Inst. Amer. Hist. & A.) and the Plains Indians, for whom he had great respect. The luminous Piegans (1918; Denver, CO, Mus. W. A.), with its depiction of the Plains Indians, is a reminder of the vastness of the American West. Russell's sense of humour and empathy for his subject-matter radiates from his paintings as pleasingly as do the clear colours of the high country. His bronze sculptures (e.g. Buffalo Hunt, 1905; Denver, CO, Mus. W. A.) depict the same dramatic and tension-packed themes as his paintings.  Related Paintings of Charles M Russell :. | The Buffalo Herd | Cowboy Camp During The Round Up | Through the Alkali | Partners | When Horse Flesh Comes High |
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Maron, Anton von
Austrian, 1733-1808 Austrian painter. He studied at the Vienna Akademie and, in 1755, he went to Rome, where he was based for the rest of his life. From 1756 to 1761 he was first the pupil then the assistant of Anton Raphael Mengs. In 1765 he married Mengs's sister, the miniature painter Theresia Concordia Mengs. After collaborating on Mengs's fresco paintings in Rome (at S Eusebio and the Villa Albani; both in situ), Maron, working independently in Rome, spent some time on altar pictures (S Maria dell'Anima) and on various decorative projects. Mengs's influence is evident in Maron's ceiling pictures in the casino of the Villa Borghese (1784; in situ), where five paintings tell the Story of Aeneas and Dido in the style of quadri riportati, using clear construction, sharply defined drawing and a historical concept based on antiquity. Although he received many commissions for this type of work, Maron's true gifts lay in the field of portraiture. Along with Pompeo Batoni, Maron was the most celebrated portrait painter in 18th-century Rome, and he received an enormous number of commissions from princes, diplomats and church dignitaries and from English aristocrats visiting Rome as part of their Grand Tour. Maron painted such sitters in the same style as did Batoni, usually full-length and life-size, in elegantly fashionable dress, against backgrounds of Classical sculptures and views of Rome. Portraits such as those of Francis, Prince of Anhalt Dessau
ANGELICO Fra
Italian Early Renaissance Painter, ca.1387-1455 Italian painter, illuminator and Dominican friar. He rose from obscure beginnings as a journeyman illuminator to the renown of an artist whose last major commissions were monumental fresco cycles in St Peter's and the Vatican Palace, Rome. He reached maturity in the early 1430s, a watershed in the history of Florentine art. None of the masters who had broken new ground with naturalistic painting in the 1420s was still in Florence by the end of that decade. The way was open for a new generation of painters, and Fra Angelico was the dominant figure among several who became prominent at that time, including Paolo Uccello, Fra Filippo Lippi and Andrea del Castagno. By the early 1430s Fra Angelico was operating the largest and most prestigious workshop in Florence. His paintings offered alternatives to the traditional polyptych altarpiece type and projected the new naturalism of panel painting on to a monumental scale. In fresco projects of the 1440s and 1450s, both for S Marco in Florence and for S Peter's and the Vatican Palace in Rome, Fra Angelico softened the typically astringent and declamatory style of Tuscan mural decoration with the colouristic and luminescent nuances that characterize his panel paintings. His legacy passed directly to the second half of the 15th century through the work of his close follower Benozzo Gozzoli and indirectly through the production of Domenico Veneziano and Piero della Francesca. Fra Angelico was undoubtedly the leading master in Rome at mid-century, and had the survival rate of 15th-century Roman painting been greater, his significance for such later artists as Melozzo da Forli and Antoniazzo Romano might be clearer than it is.
Carlo Saraceni
1580-1620 Italian Carlo Saraceni Galleries Carlo Saraceni (Venice 1579-Venice, 16 June 1620) was an Italian early-Baroque painter, whose reputation as a "first-class painter of the second rank" was improved with the publication of a modern monograph in 1968. Though he was born in Venice, his paintings are distinctly Roman in style; he moved to Rome in 1598, joining the Accademia di San Luca in 1607. He never visited France, though he spoke fluent French and had French followers and a French wardrobe. His painting, however, was influenced at first by the densely forested, luxuriantly enveloping landscape settings for human figures of Adam Elsheimer, a German painter resident in Rome; "there are few landscapes by Saraceni which have not been attributed to Elsheimer," Malcolm Waddingham observed, and Anna Ottani Cavina has suggested the influences may have travelled both ways. and Elsheimer's small cabinet paintings on copper offered a format that Saraceni employed in six landscape panels illustrating The Flight of Icarus; in Moses and the Daughters of Jethro and Mars and Venus. Saint Sebastian Castle Museum, PragueWhen Caravaggio's notorious Death of the Virgin was rejected in 1606 as an altarpiece suitable for a chapel of Santa Maria della Scala, it was Saraceni who provided the acceptable substitute, which remains in situ, the only securely dated painting of his first decade in Rome. He was influenced by Caravaggio's dramatic lighting, monumental figures, naturalistic detail, and momentary action (illustration, right), so that he is numbered among the first of the "tenebrists" or "Caravaggisti". Examples of this style can be seen in the candlelit Judith and the Head of Holofernes. Saraceni's matured rapidly between 1606 and 1610, and the next decade gave way to his fully mature works, synthesizing Caravaggio and the Venetians. In 1616?C17 he collaborated on the frescoes for the Sala Regia of the Palazzo del Quirinale. In 1618 he received payment for two paintings in the church of Santa Maria dell'Anima. The compositional details of his fresco of The Birth of the Virgin in the Chapel of the Annunciation of the church of Santa Maria in Aquiro are repeated in a panel on copper at the Louvre In 1620 he returned to Venice, where he died in the same year. He was so influential on the style of an anonymous still life painter working in Rome, that the man is known as "Pensionante del Saraceni"