1712-1793 Italian Francesco Guardi Galleries Francesco Guardi was born in Venice into a family of lesser nobility from Trentino. His father Domenico (born in 1678) and his brothers Niccolo and Gian Antonio were also painters, the latter inheriting the family workshop after the father's death in 1716. They probably all contributed as a team to some of the larger commissions later attributed to Francesco. His sister Maria Cecilia married the pre-eminent Veneto-European painter of his epoch, Giovanni Battista Tiepolo. In 1735, Guardi moved to the workshop of Michele Marieschi, where he remained until 1743. His first certain works is from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his better-known brother, Gian Antonio. The first work signed by Francesco is a Saint Adoring the Eucarist (circa 1739). His works in this period included landscapes as well as figure representations. His early vedutas show influence both from Canaletto and Luca Carlevarijs. On February 15, 1757 he married Maria Mattea Pagani, the daughter of painter Matteo Pagani. In the same year his brother Gian Antonio died and his first son, Vincenzo, was born. His second son, Giacomo, was born in 1764. In 1763 he worked in Murano, in the church of San Pietro Martire, finishing a Miracle of a Dominican Saint clearly influenced by Alessandro Magnasco in its quasi-expressionistic style. Francesco Guardi's most important later works include the Doge's Feasts, a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo. In his later years, Canaletto's influence on his art diminished, as showed by the Piazzetta in the Ca' d'Oro of Venice. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno. Miracle of a Dominicane Saint (1763), Lugano, private collection.In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, of which only two remain, and two others for that of Pope Pius VI. On September 12 of that year he was admitted to the Fine Art Academy of Venice. A stronger attention to colours is present in late works such as the Concerto of 80 Orphans of 1782, now in Munich, in the Façade of Palace with Staircase in the Accademia Carrara of Bergamo. Guardi died at Venice in 1793.  Related Paintings of Francesco Guardi :. | The Punta della Dogana | Details of he Departure of the Doge on Ascension Day | Details of he Departure of the Doge on Ascension Day | The Coronation of the Doge on the Staircase of the Giants at the Ducal Palace (mk05) | View of the Palazzo Loredan dell'Ambasciatore on the Grand Canal |
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Jan Stanislawski
(June 24, 1860, Olshana near Korsun - January 6, 1907, Krakew) was a Polish modernist painter, art professor, originator and member of various art groups and societies. Initially, he studied mathematics at Warsaw University (1879 - 1882), and subsequently at the Imperial Technical Institute in St Petersburg. He began to learn painting in the so called Drawing Class (which later gave rise to the School of Fine Arts) in Warsaw under Wojciech Gerson. In 1883, he enrolled in the School of Fine Arts in Krakew. In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria, and also Ukraine. His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Friends of the Arts Society in Krakew in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Krakew, and various places in Ukraine. Together with Julian Fałat, he painted the landscape parts of Napoleones Army Crossing the Berezina, a panorama by Wojciech Kossak. In 1897, he initiated and helped organise the Separate Exhibition of Pictures and Sculptures at Krakewes Cloth Hall. That year, he become a teacher of landscape painting at the School of Fine Arts in Krakew, and in 1906 - after the school was upgraded to an academy in 1900 - was granted full professorship and also taught at Teodor Axentowiczes Private School of Painting and Drawing for Women and at Teofila Certowiczes Art School for Women in Krakew. He co-founded the "Sztuka" ("Art") Society of Polish Artists in Krakew in 1897. Later he became Deputy Chairman and finally Chairman of that society, and showed his works at numerous exhibitions organised by it. In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art in Krakew in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students.
HOLBEIN, Ambrosius
German Northern Renaissance Painter, 1494-ca.1519 Painter, draughtsman and designer of woodcuts, son of Hans Holbein. In the drawing of Ambrosius and Hans Holbein the Younger (1511; Berlin, Kupferstichkab.) by their father, Hans's age is given as 14, and although that of Ambrosius cannot be read clearly, he appears to have been the elder brother. In 1514 he was probably working near the Bodensee, and a Virgin and Child (Basle, Kstmus.), with the coat of arms of Johann von Botzheim, Canon of Konstanz Cathedral (c. 1480-1535), appears to be his work. In 1515 he was working as a journeyman to the painter Thomas Schmid (c. 1480-c. 1550-60) on the decoration of the abbot's Festsaal in the Benedictine St Georgkloster at Stein-am-Rhein, which included allegorical figures of women, one of which, Death with a Female Lute-player (in situ), is signed AH. Also in 1515 he joined his brother Hans in Basle, where together they decorated with marginal drawings (1515-16) the copy of Erasmus's Praise of Folly (Basle, Kstmus.) belonging to the schoolmaster Myconius (Oswald Geissh?sler; d 1552); the distinction between the hands of the two brothers can be made only on stylistic grounds. They also painted a school sign for Myconius, each apparently working on a different side. On 25 July 1516 Ambrosius was recorded staying in the house of the painter Hans Herbst, in whose workshop he may have been employed. On 14 February 1517 he was enrolled in the Basle painters' guild, and on 5 June 1518 he became a citizen of the city. Numerous woodcut designs executed for Basle printers from 1517 onwards and signed with Ambrosius Holbein's initials survive, most of which are set in architectural frameworks inspired by the Italian Renaissance,
Eva Gonzalez
1849-1883 French