French, 1844-1907.French painter, illustrator, designer and printmaker. He was trained at the Ecole Municipale de Dessin in Rouen under Gustave Morin (1809-86). He was obliged to sell illustrations to periodicals to make a living, contributing, among others, to Charge, Cravache, LInutile, Chronique parisienne and Courier fran?ais. His drawings were spirited, but because their humour often relied on topicality his fame was short-lived.   Related Paintings of Henry Somm :. | Arab or Arabic people and life. Orientalism oil paintings 536 | Eiger Monch und Jungfrau in der Morgensonne | Laurentian Library | Goddess Lakshmi | Demons Trashing Angels and Archangels |
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Lorenzo Costa
Bologna 1460-Mantua 1535 was an Italian painter of the Renaissance. He was born at Ferrara, but moved to Bologna by the his early twenties, and would be more influential to the Bolognese school of painting. However, many artists worked in both nearby cities, and thus others consider him a product of the School of Ferrara. There are claims that he trained with Cosimo Tura. In 1483 he painted his famous Madonna and Child with the Bentivoglio family, and other frescoes, on the walls of the Bentivoglio chapel in San Giacomo Maggiore, and he followed this with many other works. He was a great friend of Francesco Francia, who was much influenced by him. In 1509 he went to Mantua, where his patron was the Marquis Francesco Gonzaga, and he eventually died there. His Madonna and Child enthroned is in the National Gallery, London, but his chief works are at Bologna. His sons, Ippolito and Girolamo, were also painters, and so was Girolamo's son, Lorenzo the younger (1537-1583).
ASAM, Cosmas Damian
German Baroque Era Sculptor, 1686-1739 Bavarian architects and decorators. After studying in Rome (1711 ?C 13), Cosmas Damian became a prolific fresco painter, and his brother, Egid Quirin, became a sculptor and stuccoist. They developed the effects of dramatic lighting and illusionism originated by Gian Lorenzo Bernini and Andrea Pozzo. Working as a team, they produced magnificent illusionistic decoration in ecclesiastical buildings, combining dramatic lighting and colour. Their works are notable for their profound and dramatic intensity of religious feeling. The brothers became the principal late Baroque exponents of illusionist decoration in religious architecture. Their most notable collaboration is the church of St. John Nepomuk in Munich (1733 ?C 46) ?? known as the Asamkirche in honour of the brothers.
William Aikman
William Aikman (24 October 1682 - 7 June 1731) was a Scottish portrait-painter. Aikman was the son of William Aikman, of Cairney. His father intended that he should follow the law, and gave him an education suitable to these views; but the strong predilection of the son to the fine arts induced him to attach himself to painting alone. Poetry, painting, and music have, with justice, been called sister arts. Mr. Aikman was fond of poetry; and was particularly delighted with those unforced strains which, proceeding from the heart, are calculated to touch the congenial feelings of sympathetic minds. It was this propensity that attached him so warmly to Allan Ramsay, the Doric bard of Scotland. Though younger than Ramsay, Mr. Aikman, while at college, formed an intimate acquaintance with him, which constituted a principal part of his happiness at that time, and of which he always bore the tenderest recollection. It was the same delicate bias of mind which at a future period of his life attached him so warmly to Thomson, who then unknown, and unprotected, stood in need of, and obtained the warmest patronage of Aikman; who perhaps considered it as one of the most fortunate occurrences in his life that he had it in his power to introduce this young poet of nature to Sir Robert Walpole, who wished to be reckoned the patron of genius, and to Arbuthnot, Swift, Pope, Gay, and the other beaux esprits of that brilliant period. Thomson could never forget this kindness; and when he had the misfortune, too soon, to lose this warm friend and kind protector, he bewailed the loss in strains distinguished by justness of thought, and genuine pathos of expression.