(1759, Paris - 1798, Fontainebleau) was a French neoclassical painter. His father was a painter, art dealer and member of the Academie de Saint-Luc. Charles-Edouard studied under Jean Bonvoisin in 1775, then under Jean-Jacques Lagrenee, before winning second prize in the 1778 prix de Rome with David condemning to death the Amalekite bringing him Saul's diadem.   Related Paintings of Charles-edouard Chaise :. | The Sitting qt | Leda | Sunlit forest path | marin skagen | La Marquise de Pompadour |
Related Artists:
BORDONE, Paris
Italian High Renaissance Painter, 1500-1571 Bordone was born at Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily (according to Vasari) with Titian. Vasari may have met the elder Bordone. From the 1520s, we have works by Bordone including the Holy Family in Florence, Sacra Conversazione with Donor (Glasgow), and Holy Family with St. Catherine (Hermitage Museum). The St. Ambrose and a Donor (1523) is now in Brera. In 1525-6, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George (now in the Palazzo Tadini collection at Lovere). A second altarpiece, Pentecost, is now in Brera gallery. In 1534-5, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of the Fisherman delivering the Marriage Ring of Venice to the Doge (Accademia). However, when this latter painting is compared to the near-contemoporary, and structurally similar, Presentation of the Virgin, Bordone's limitations, his use of superior perspective, which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian. Bordone is best at his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space.
Carel de Moor
(February 25, 1655 - February 16, 1738) was a Dutch Golden Age etcher and painter. He was a pupil of Gerard Dou. Carel de Moor was born in Leiden. According to Houbraken, his father was an art dealer who wanted him to study languages and only allowed him to study art when his talent for drawing surfaced at a young age. Houbraken met him in person at the atelier of Godfried Schalcken when he was completing his education there. According to the RKD he was the son of a Leiden painter of the same name and a pupil of Dou, Frans van Mieris, Godfried Schalcken, and Abraham van den Tempel. He became a member of the Leiden Guild of St. Luke in 1683, and became deacon many times over in the years 1688-1711. His own pupils later were Pieter Lyonet, Andrei Matveev, Arent Pijl, Arnout Rentinck, and Mattheus Verheyden.
Giovanni Migliara
Italian 1785-1837 He began his career as a scene painter with Gaspare Galiari (1761-1823) in Milan, working at the Teatro Carcano in 1804 and at La Scala from 1805 to 1809. Owing to illness, after 1810 he turned to small-scale works in watercolour or oil using various supports, including silk and ivory. At this date Milanese painting was dominated by Andrea Appiani and Luigi Sabatelli, both leading Neo-classical artists. However, Migliara remained aloof from this dominant movement and instead drew on medieval and historical subjects with Romantic undertones. His precise, jewel-like technique and choice of subject-matter found favour with aristocratic patrons in Milan. His figures are generally stilted and burdened by their costumes, though the crowd in Sacking of Minister Prina's House (1814; Milan, Gal. A. Mod.) is depicted with unusual fluency. In 1822 Migliara was appointed Professor of Perspective at the Accademia di Belle Arti, Milan, and in 1833 he was nominated painter to the court of Charles-Albert, King of Sardinia (reg 1831-49). More typical of his historical scenes is Entrance to the Castle of Plessis de la Tour (Turin, Gal. Civ. A. Mod.), which was exhibited at the Brera in 1833. He also produced many topographically precise pictures of church interiors in which he combined his training as a scene painter with his knowledge of intaglio techniques.