1792 - 1871 English painter and printmaker. He was the son of Charles Hayter (1761-1835), miniature painter, author of manuals for art instruction and Professor of Perspective and Drawing to Princess Charlotte. In 1808 George entered the Royal Academy Schools, and in 1815 was appointed Painter of Miniatures and Portraits by Princess Charlotte. Hayter was awarded the British Institution's premium for history painting for the Prophet Ezra (1815; Downton Castle, Heref. & Worcs), purchased by Richard Payne Knight. Encouraged by his patron, John Russell, 6th Duke of Bedford, he travelled to Italy to study in 1816, gaining election as an honorary member of the Accademia di S Luca in Florence. Returning to London in 1818, Hayter practised as a portrait painter in oils and history painter and occasionally acted as an art dealer. Dubbed 'The Phoenix' by William Beckford, Hayter showed a pomposity that irritated his fellow artists, but he mixed freely with many aristocratic families.   Related Paintings of George Hayter :. | William Spencer Cavendish, 6th Duke of Devonshire | Portrait of the Duke of Wellington | Portrait of a young lady in an interior 1826 | Portrait of John, 6th Duke of Bedford | Portrait of Princess Victoria of Kent |
Related Artists:
Bourel Aristide
Dunkerque 1840-Sartrouville 1924
MONTAGNA, Bartolomeo
Italian Early Renaissance Painter, 1450-1523 Painter and draughtsman. Montagna is first documented in 1459 in Vicenza as a minor and, still a minor, in 1467. In 1469 he is recorded as a resident of Venice. In 1474 he was living in Vicenza where, in 1476 and 1478, he was commissioned to paint altarpieces (now lost). He has variously been considered a pupil of Andrea Mantegna (Vasari), Giovanni Bellini, Antonello da Messina, Alvise Vivarini, Domenico Morone and Vittore Carpaccio. While none of these artists, except Carpaccio, was irrelevant to Montagna's stylistic formation, scholars agree that Giovanni Bellini was the primary influence on his art. He may have worked in Bellini's shop around 1470. Several of Montagna's paintings of the Virgin and Child in which the influence of Antonello da Messina is especially marked (e.g. two in Belluno, Mus. Civ.; London, N.G., see Davies, no. 802) are likely to be close in date to Antonello's sojourn in Venice (1475-6); they are therefore best considered Montagna's earliest extant works (Gilbert, 1967) rather than as an unexplained parenthesis around 1485 between two Bellinesque phases (Puppi, 1962). These early paintings appear to be followed by others in which the geometrically rounded forms derived from Antonello become more slender and sharper-edged. Their figures are imbued with a deeply felt, individual humanity, sometimes austere and minatory, sometimes tender. Among them are some larger-scale works, for example the Virgin and Child Enthroned with SS Nicholas and Lucy (Philadelphia, PA, Mus. A.) and a Virgin and Child Enthroned with SS Ansanus, Anthony Abbot, Francis and Jerome
Vasily Polenov
1844 - 1927,Painter. He began a systematic study of drawing in 1856, first with the landscape painter Pavel Cherkasov (1834-1900), then from 1859 to 1861 with Pavel Chistyakov (1832-1919). He also took lessons with Chistyakov, whom he considered his most important teacher, in 1871 and early 1872, after finishing his academic course. From 1863 to 1871 Polenov studied at the St Petersburg Academy of Art, where he met members of the progressive wing of the Russian artistic intelligentsia, and occasionally in the faculty of law at St Petersburg University. The classical education he received at home, his academic training and lessons with Chistyakov led Polenov towards an exalted history painting, although he personally inclined towards landscape. This dualism remained in Polenov work for the duration, and not until the late 1880s and early 1890s did he achieve a stable relationship between the two forms. The whole of his student career and the initial postgraduate, scholarship period was largely taken up with historical works: from academic compositions, for example the Resurrection of Jairus Daughter (1871; Pskov, Mus. Hist., Archit. & A.), for which he received the Grand Gold Medal and a travel bursary (in Germany and Italy, 1872-3, and France, 1873-6), to numerous pictures and sketches on subjects from antiquity and medieval history, executed in France or shortly after his departure from there, under the perceptible influence of Paul Delaroche (e.g. The Master Right, 1874; Moscow Tret yakov Gal.). At the same time he produced his first independent works, in the 1860s and early 1870s: landscapes in the surroundings of the Imochentsy estate in Karelia (e.g. Mountains, 1870; Moscow Tret yakov Gal.), and landscape studies and pictures executed from nature in Normandy in 1874 (e.g. Fishing Boat, Etretat; Moscow, Tret'yakov Gal.). In 1876 he became an Academician