Italian ,
b. Monopoli 1612-d.1656 Naples
Naples.Brother of Cesare Francanzano. He moved to Naples in 1622 with Cesare and like him entered Ribera's workshop. In 1632 he married Salvator Rosa's sister Giovanna. His early style remains obscure. Bologna (1958) attributed a group of paintings to him that show half-length figures against a predominantly dark background, painted in deep colours with loaded brushstrokes. These pictures, among them two versions of the Prodigal Son. Related Paintings of Francesco Fracanzano :. | A View in Cairo | Port-en-Bessin | Portrait of Everhard Jabach | Bacchus | Portrait of Madame Moitessier Standing | Related Artists:
Charles Christian Nahl and august wenderothGerman-born American Painter, 1818-1878
American, 1819-1884
Wladyslaw PodkowinskiPolish Painter, 1866-1895
Polish painter and illustrator. In 1880-84 he studied in Warsaw at Wojciech Gerson's Drawing School. From 1884 he regularly contributed illustrations to leading Warsaw journals such as Tygodnik Ilustrowany and Wedrowiec. In 1885, accompanied by his fellow artist J?zef Pankiewicz, he went to St Petersburg and studied (1885-6) at the Academy of Fine Arts. Disappointed with the conservative teaching system and short of money, he returned to Warsaw in 1886 and in 1887 continued working regularly for Tygodnik Ilustrowany, becoming one of its most popular illustrators. He produced his first watercolours and oil paintings, much under the influence of Aleksander Gierymski, but continued to regard these as secondary activities until a stay in Paris in 1889, again in the company of Pankiewicz. Here, the experience of new French painting, especially that of Claude Monet shown at the Galerie Georges Petit, encouraged Podkowinski to attempt paintings in an Impressionist manner.
John F.FrancisAmerican Painter, 1808-1886
American painter. Beginning as an itinerant portrait painter in rural Pennsylvania, he produced works including flattering, colourful portraits of his sisters in the style of Thomas Sully, often incorporating small still-life details. He abandoned portraiture after 1850 to concentrate exclusively on still-life subjects in the tradition of the PEALE family.