British 1890-1920   Related Paintings of Emile Vernon :. | Dieppe | The Dance Hall in Arles (nn04) | Baders in Asnieres | A Pastoral Landscape | Hl. Casilda von Toledo |
Related Artists:
Jan de Bray
1627-1697 Dutch Painter, draughtsman and etcher, son of (1) Salomon de Bray. He spent virtually the whole of his career in Haarlem, except for the period 1686-8, when he lived in Amsterdam. After training with his father, Jan began working as a portrait painter in Haarlem in 1650, an activity he continued for the next 40 years. Between 1667 and 1684 he served on the committee for the Haarlem Guild of St Luke, whose leading members he portrayed in a picture dated 1675 (Amsterdam, Rijksmus.) that includes a self-portrait (Jan is seen standing and drawing on the left). He married three times, in 1668, 1670 and 1672. His first two wives died a year after their marriage, his third two years afterwards, and in each case the death was followed by disputes over the inheritance. Jan bankruptcy of 1689 may have been a result of one of the lawsuits. He was 62 at the time, and from then onwards he seems to have lost his artistic drive, crushed by the financial blow and the consequent loss of social position.
Alessandro Bonvicino
(c. 1498 - December 22, 1554), more commonly known as Il Moretto da Brescia, was an Italian Renaissance painter of Brescia and Venice. He was born at Rovato, in Brescian territory, and studied first under Fioravante Ferramola. Others state he trained with Vincenzo Foppa. His brothers Pietro and Jacopo were also painters. The 1911 Britannica claims he apprenticed with Titian in Venice and that Moretto modelled his earlier portrait-painting style on the Venetian style. On the other hand, the style also resembles that of Giorgione or late Bellini. The 1911 Britannica also states that he conceived a great enthusiasm for Raphael, though he never traveled to Rome; on the other hand, his classical serenity resembles that shown by Leonardo and his followers in Lombardy such as, for example, Bramantino. He may have consulted with his contemporary Girolamo Savoldo. Moretto excelled more in sedate altarpieces than in narrative action, and more in oil-painting than in fresco, although he painted fine frescoes depicting the lollygagging daughters of Count Martinengo in one of the palaces near Brescia. In 1521, he worked with Girolamo Romanino in the Cappella del Sacramento in the old cathedral of Brescia, where Moretto completed a Last Supper, Elijah in the Desert, and a Fall of Manna.He was active during 1522-24 in Padua. He painted alongside with Lorenzo Lotto at Santa Maria Maggiore in Brescia. Also in Brescia, he completed a Five Virgin Martyrs and his masterpiece, the Assumption of the Madonna for the church of San Clemente; a Coronation of the Madonna with four saints (c. 1525) for the church of Santi Nazaro e Celso; a St. Joseph for Santa Maria della Grazie; and a St Nicholas of Ban for Santa Maria de Miracoli. He collaborated with Floriano Ferramola in the decoration of the dome of the cathedral in Brescia.
Evelyn De Morgan
1855-1919 British Evelyn De Morgan Galleries She was born Evelyn Pickering. Her parents were of upper middle class. Her father was Percival Pickering QC, the Recorder of Pontefract. Her mother was Anna Maria Wilhelmina Spencer Stanhope, the sister of the artist John Roddam Spencer Stanhope and a descendant of Coke of Norfolk who was an Earl of Leicester. Evelyn was homeschooled and started drawing lessons when she was 15. On the morning of her seventeenth birthday, Evelyn recorded in her diary, "Art is eternal, but life is short..." "I will make up for it now, I have not a moment to lose." She went on to persuade her parents to let her go to art school. At first they discouraged it, but in 1873 she was enrolled at the Slade School of Art. Her uncle, John Roddam Spencer Stanhope, was a great influence to her works. Evelyn often visited him in Florence where he lived. This also enabled her to study the great artists of the Renaissance; she was particularly fond of the works of Botticelli. This influenced her to move away from the classical subjects favoured by the Slade school and to make her own style. In 1887, she married the ceramicist William De Morgan. They lived together in London until he died in 1917. She died two years later on 2 May 1919 in London and was buried in Brookwood Cemetery, near Woking, Surrey.