Alma Tadema
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8 January 1836 – 25 June 1912. Most renowned painters.

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DAVID, Gerard
The Holy Women and St John at Golgotha dfv

ID: 06383

DAVID, Gerard The Holy Women and St John at Golgotha dfv
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DAVID, Gerard The Holy Women and St John at Golgotha dfv


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DAVID, Gerard

Netherlandish Northern Renaissance Painter, ca.1460-1523 Netherlandish painter. He is known as the last of the 'Flemish Primitives'. Although born in the northern Netherlands, he moved to Bruges as a young man, and most of his work expresses the impassive, unmannered, microscopically realistic approach peculiar to south Netherlandish art in the time of Jan van Eyck. David was skilled at synthesizing the art of several important south Netherlandish predecessors, adapting, for instance, the compositions of van Eyck and the technique of Hugo van der Goes. He was also influenced by Hans Memling,   Related Paintings of DAVID, Gerard :. | Pilate's Dispute with the High Priest; The Holy Women and St John at Golgotha dfg | The Annunciation dg02 | Deposition fgha | Virgin and Child with Four Angels de | The Nativity (detail)v td |
Related Artists:
William Carpenter
1818-1899
Raimundo de Madrazo y Garreta
1841-1920 Spanish Son of Federico de Madrazo y Kentz. Because of his ability and training with his father, Federico, in the Real Academia de S Fernando in Madrid and with Leon Cogniet in Paris, he seemed destined to continue the family tradition of academic painting. However, due to the influence of the Belgian Alfred Stevens, of his brother-in-law, Mariano Jose Bernardo Fortuny y Marsal, and the Parisian environment, he exchanged dry historical painting for the preciousness of the tableautin, the small, intimate genre painting. He lived in Paris and New York and became so remote from Spanish artistic life that he and Fortuny y Marsal were the only Spanish artists not to participate in any national exhibition, and because of this the Spanish state never directly acquired their works. In 1882, with Giuseppe De Nittis, Stevens and the gallery owner Georges Petit, he co-founded the Exposition Internationale de Peinture, designed to promote foreign artists in Paris. Madrazo Garreta most characteristic works are the female portrait and the witty and elegant genre painting, with soft, delicate tones and suggestive poses. The influence of the Rococo and of Japanese art is reflected in his painting, which expresses an exquisite aristocratic or bourgeois ideal, the illusion of a refined, sensual and superficial life. Consequently, his works are also described as representing the Parisian seraglio. American collectors paid high prices for his paintings, for example Alexander Turney Stewart bought Lady with a Parrot; Carnival Festival (1878) was purchased by L. Wolfe; and Girls at the Window (1875) was bought by J. W. Vanderbilt, the last two now being in the Metropolitan Museum of Art, New York. His portraits were better received in Spain although because of collectors such as Ramen de Errazu (d 1909), the Museo del Prado has a good number of his paintings (e.g. After the Bath).
Giacinto Gigante
(1806-1876) was an Italian painter. Gigante was introduced to painting by his father Gaetano Gigante. His brothers Achille Gigante and Ercole Gigante also became landscape artists. He trained in the style of Hackert and was influenced by the technical drawing carried out at the Naples Royal Institute of Fine Arts. Along with Achille Vianellihe was to be strongly influenced by a large colony of foreign painters then present in Naples including Huber and Pitloo. From Wolfgang Huber Gigante learnt watercolour technique and the use of the panoramic ?-amera lucidae method. Via Huber he met the Dutch artist Anton Sminck van Pitloo, who became his teacher for a few years. In 1823 Gigante won the Naples Royal Institute of Fine Arts drawing competition. In 1826 he displayed four works at the first Esposizione di Belle Arti. Reportedly though Gigante did not fit in well with the life of the Naples Royal Institute of Fine Arts and left. Around 1826 he was living in Naples in Vicoletto del Vasto 15, with Van Pitloo, Carl Götzloff and Teodoro Duclere. He is considered the foremost exponent of the 19th-century Neapolitan "Posillipo School" of painting.






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