Italian Realist Painter , 1825-1908 was an Italian artist, one of the leaders of the group known as the Macchiaioli. He was initially a painter of historical themes and military subjects. In his middle years, inspired by the Barbizon school, he became one of the leading Italian plein-airists, painting landscapes, rural scenes, and scenes of military life. After 1884, he devoted much energy to etching.   Related Paintings of Giovanni Fattori :. | Der Furst Amadeo ferito in Custoza | Portrat der ersten Ehefrau des Kunstlers | Portrat der dritten Ehefrau | Das Feldlager | Bewaldeter Strand |
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Charles Rennie Mackintosh
Scottish Art Nouveau Designer, 1868-1928 Scottish architect, designer and painter. In the pantheon of heroes of the Modern Movement, he has been elevated to a cult figure, such that the importance of his late 19th-century background and training in Glasgow are often overlooked. He studied during a period of great artistic activity in the city that produced the distinctive GLASGOW STYLE. As a follower of A. W. N. Pugin and John Ruskin, he believed in the superiority of Gothic over Classical architecture and by implication that moral integrity in architecture could be achieved only through revealed construction. Although Mackintosh's buildings refrain from overt classicism, they reflect its inherent discipline. His profound originality was evident by 1895, when he began the designs for the Glasgow School of Art. His decorative schemes, particularly the furniture, also formed an essential element in his buildings. During Mackintosh's lifetime his influence was chiefly felt in Austria, in the work of such painters as Gustav Klimt and such architects as Josef Hoffmann and Joseph Maria Olbrich. The revival of interest in his work was initiated by the publication of monographs by Pevsner (1950) and Howarth (1952). The Charles Rennie Mackintosh Society was formed in Glasgow in 1973; it publishes a biannual newsletter, has a reference library and organizes exhibitions.
Jan Baptiste Vanmour
1671-1737 was a Flemish-French painter, remembered for his detailed portrayal of life in the Ottoman Empire during the Tulip Era and the rule of Sultan Ahmed III. Van Mour was a native of Valenciennes, a Flemish town that at he time of his birth belonged to the Spanish Netherlands, but since 1678 to France. He studied art in the studio of Jacques-Albert Gerin, and his work attracted the attention of an aristocrat and statesman of the time, Marquis Charles de Ferriol. Van Mour was invited to go to Istanbul when De Ferriol was appointed there as the French Ambassador in 1699. De Ferriol commissioned van Mour to do one hundred portraits of the local people. In 1711 De Ferriol returned to France and van Mour worked for a variety of other diplomats. In the meantime De Ferriol published a series of one hundred engravings (after the paintings) in Recueil de cent estampes representant differentes nations du Levant. The book had a great influence in Western Europe and was published in at least five languages. Painting audiences with the Sultan became van Mour's speciality; he only had to change the setting and a few faces. Van Mour worked with assistants to fulfill all his obligations. In 1725 he was granted the extraordinary title of Peintre Ordinaire du Roy en Levant in recognition of both his and the Levant's importance to the French government. In 1727 the Dutch ambassador Cornelis Calkoen asked Van Mour to record his audience with Sultan Ahmed III on canvas. Van Mour was allowed to enter the palace during these ceremonies accompanying the ambassador and his retinue; therefore, he was familiar with the special protocol that prevailed in the Ottoman court for ambassador's receptions. Calkoen took many paintings of Jean-Baptiste van Mour with him, when he was appointed as ambassador in Dresden for the Dutch Republic.
Bicci Di Neri
(1419-1491) was an Italian painter of the Renaissance. A prolific painter of mainly religious themes, he was active mainly in Florence and in the medium of tempera. His father was Bicci di Lorenzo. His grandfather, Lorenzo di Bicci was also a painter in Florence, a pupil of Spinello Aretino. Neri di Bicci's main works include a St. John Gualbert Enthroned, with Ten Saints for the church of Santa Trinita, an Annunciation (1464) in the Florentine Academy, two altarpieces in the Diocesan Museum of San Miniato, a Madonna with Child Enthroned in the Pinacoteca Nazionale of Siena, and a Coronation of the Virgin (1472) in the abbey church at San Pietro a Ruoti (Bucine. He also painter numerous works in the area of Volterra. His journals from the years 1453-1475, including the rates of remuneration for his work, are still preserved in the library of the Uffizi Gallery. They are known as Ricordanze.