1581-1641 Italian Domenichino Locations Italian painter and draughtsman. On the basis of his frescoes and altarpieces he became established as the most influential exponent of the 17th-century classical style. Through his critical analysis of the art of Raphael and Annibale Carracci he was influential in the creation of a modern canon of the ancients; and he was perhaps the most complete example of a 17th-century artist struggling to reconcile tradition with the demand for spectacle.  Related Paintings of Domenichino :. | Saint Agnes drtw | Martyrdom of St. Peter the Martyr, | Landscape with Ford dg | The Rest on the Flight into Egypt | The Repose of Venus |
Related Artists:
Telemaco signorini
Italian Painter, 1835-1901 was an Italian artist who belonged to the group known as the Macchiaioli. He was born in the Santa Croce quarter of Florence, and showed an early inclination toward the study of literature, but with the encouragement of his father, Giovanni Signorini, a court painter for the Grand Duke of Tuscany, he decided instead to study painting. In 1852 he enrolled at the Florentine Academy, and by 1854 he was painting landscapes en plein air. The following year he exhibited for the first time, showing paintings inspired by the works of Walter Scott and Machiavelli at the Florentine Promotrice. In 1855, he began frequenting the Caffe Michelangiolo in Florence, where he met Giovanni Fattori, Silvestro Lega, and several other Tuscan artists who would soon be dubbed the Macchiaioli. The Macchiaioli, dissatisfied with the antiquated conventions taught by the Italian academies of art, started painting outdoors in order to capture natural light, shade, and color. They were forerunners of the Impressionists who, beginning in the 1860s, would pursue similar aims in France. Signorini was a volunteer in the Second Italian War of Independence in 1859, and afterwards painted military scenes which he exhibited in 1860 and 1861. He made his first trip outside Italy in 1861 when he visited Paris, to which he would often return in the decades that followed. There he met Degas and a group of expatriate Italian artists in his orbit, including Giovanni Boldini, Giuseppe De Nittis, and Federico Zandomeneghi; unlike them, however, Signorini remained rooted in Italy. He became not only one of the leading painters of the Macchiaioli, but also their leading polemicist. Art historian Giuliano Matteucci has written: "If we acknowledge Fattori and Lega as the major creative figures of the macchiaioli, then Signorini must surely be recognized as their 'deus ex machina'",
Robert Lefere
Robert Jacques François Faust Lefevre (24 September 1755, Bayeux - 3 October 1830, Paris) was a French painter of portraits, history paintings and religious paintings. He was heavily influenced by Jacques-Louis David and his style s reminiscent of the antique. Robert Lefevre made his first drawings on the papers of a procureur to whom his father had apprenticed him. With his parents' consent, he abandoned this apprenticeship and walked from Caen to Paris to become a student of Jean-Baptiste Regnault (in whose studio he met and became friends with Charles Paul Landon). At the 1791 Paris Salon he exhibited his Dame en velours noir, the point of departure for his reputation. Lefevre made 1805 the portrait empress Josephine. 1807 manufactured the counterpart of emperor Napoleon Louis-Andre-Gabriel Bouchet. Napoleon gave both paintings to the city Aachen 1807, where they are today in the city hall and decorate the entrance hall. His other portraits of Napoleon, Josephine, Madame Laetitia, Guerin, Carle Vernet (a portrait which is now at the Louvre) and pope Pius VII made him a fashionable portrait artist and one of the main portraitists of the imperial personalities, a reputation sealed by his portrait of Napoleon's new wife Marie Louise. On the Bourbon Restoration Robert Lefevre painted a portrait of Louis XVIII for the Chambre des Pairs and received the cross of the Legion d'honneur and the title of First Painter to the King, losing the latter on the July Revolution. He painted a large number of portraits and history paintings. The main example of his portraits are those of Malherbe (Bibliotheque publique de Caen), Charles X, the duchesse deAngouleme, the duchesse de Berry, Charles-Pierre-François Augereau duc de Castiglione (Musee de Versailles), and of Dominique Vivant-Denon. Two of his mythological paintings - Love sharpening his arrows and Love disarmed by Venus (t. 1,84 sur 1,30 ), were engraved by Desnoyers - the latter is reproduced in le Nu Ancien et Moderne. His most notable history paintings are his Phocion getting ready to drink hemlock, Roger delivering Angelique, Heloïse and Abelard and a Crucifixion for the Mont Valerien. His last painting was The Apotheosis of Saint Louis for the Cathedral of La Rochelle.
j. h. scheffel
Wismar 1690 - Västerås 1786 J.H. Scheffel kom från en borgasläkt i Wismar, en nordtysk stad som på 1600-talets införlivats med Sverige. Om Scheffels läroår vet man ingenting utöver uppgiften i en gammal biografi att han studerade till målare i Berlin, Paris och Brabant. Scheffel dök upp i Stockholm år 1723. Uppenbarligen samarbetade han först med David von Krafft. Efter dennes död 1724 grundade Scheffel, då redan fullärd porträttör, sin egen atelj??. Ett av de första uppdragen, porträttet av borgmästare Bergstedts unga dotter, ledde till ett lyckligt och av en riklig hemgift åtföljt äktenskap med fröken Bergstedt. Scheffel samlade redan tidigt kring sig en trogen kundkrets bland adeln och det förmögna borgarskapet. Han behöll sin framgångsrika position från 1720-talet till 1760-talet. Någon ledande hovmålare eller mest gynnad societetsmålare i Stockholm var Scheffel aldrig. Hans stadiga popularitet som pålitlig och kompetent porträttmålare rubbades emellertid inte av modets växlingar, ty han hade förmågan att smidigt följa de nya strömningarna utan att pruta på sin karga och förnuftiga konstnärliga egenart. Scheffels porträtt visar sällan prov på pretentiösa barockgester eller affekterad romantisk tillgjordhet. Hans personåtergivning var utfunderad och konstaterande. I hans digra produktion ingår stela rutinarbeten, men i bästa fall är hans målningar karaktärsstudier som bygger på en stark vision. Hans målningsteknik var kompetent men anspråkslös: i helheten fäster man uppmärksamhet vid mänskobilden, inte vid utförandet. När Scheffel i 75-årsåldern som pensionerad drog sig tillbaka för att tillbringa tiden med sin familj var han en rask och förmögen gammal herre. Han uppnådde den för tiden ovanligt höga åldern av 91 år, enligt dottersonen till följd av sitt glada och jämna humör, sina ordentliga levnadsvanor och en till åldern anpassad flit och motion .