French 1836-1904 Henri Fantin Latour Locations Bure) French painter and printmaker. He was trained by his father, a portrait painter, and at the Ecole des Beaux-Arts. Though he associated with progressive artists (Gustave Courbet, Eugene Delacroix, Edouard Manet), he was a traditionalist best known for his portraits and still lifes with flowers. His portrait groups, reminiscent of 17th-century Dutch guild portraits, depict literary and artistic persons of the time; his flower paintings were especially popular in England, thanks to James McNeill Whistler and John Everett Millais, who found patrons to support him. His later years were devoted to lithography.  Related Paintings of Henri Fantin-Latour :. | Aardbeien in een aardewerk schoteltje | Still Life | Roses in a Bowl | Corner of a Table | The Two Sisters |
Related Artists:
John Christian Schetky
(1778-1874) Scottish painter. Schetky came from a cultured family: his father, Johann (1737-1824), was a German composer, and his mother, Maria, was the trumpeter Joseph Reinagle's sister. He took drawing lessons from Alexander Nasmyth and received a good education in Edinburgh before embarking on a Continental tour in 1801. After a spell as a drawing-master at the Royal Military College, Great Marlow, he was appointed Professor of Drawing at the Royal Naval College, Portsmouth, in 1811, a post he held for 25 years. He exhibited regularly at the Royal Academy between 1805 and 1872, his subjects ranging from ship portraits and royal embarkations to reconstructions of earlier sea battles of the time of Nelson. In 1820 he was made Marine Painter in Ordinary to George IV and was granted the same title by Queen Victoria in 1844.
Domenico Morelli
Italian, 1826-1901,Italian painter and teacher. Unique among his Italian colleagues in enjoying an international reputation in his lifetime, he was, with Filippo Palizzi (see PALIZZI, (2)), the leading exponent of the Neapolitan school of painting in the second half of the 19th century and a major figure in the artistic and cultural life of Italy. His realistic treatment of Romantic subjects revitalized academic painting,
CATENA, Vincenzo
Italian Painter, ca.1480-1531 His paintings represent the perpetuation of the style of Giovanni Bellini into the second quarter of the 16th century. He made few concessions to the modern style that was being introduced to Venice by Titian, Palma Vecchio, Pordenone and others in the same period. This archaicizing tendency was shared by several minor Bellinesque painters of the period, including Pietro degli Ingannati, Pietro Duia, Francesco Bissolo, Vittore Belliniano and the Master of the Incredulity of St Thomas. Catena, together with Marco Basaiti, with whose works Catena's are sometimes confused, can be considered the most accomplished of these. Despite the fact that he counted several humanists in his circle, the extant repertory of his subjects is limited to religious themes, mainly Marian and including three altarpieces, and to male portraits.