(15 July 1854 in Radom - 8 October 1929 in Krakow) was one of the most famous painters of Polish Symbolism. In his creativity he successfully joins the predominant style of his times with motifs of Polish martyrdom.   Related Paintings of Jacek Malczewski :. | Self portrait with a palette | Pythia | Self-portrait in an armour. | Self-portrait with a palette | Self-portrait with a palette |
Related Artists:
Arthur Pond
Arthur Pond (1705?-1758) was an English painter and engraver. Born about 1705, was educated in London, and stayed for a time in Rome studying art, in company with the sculptor Roubiliac. He became a successful portrait-painter. He was elected a Fellow of the Royal Society in 1752, and died in Great Queen Street, Lincoln's Inn Fields, 9 September 1758. His numerous original portraits include Alexander Pope, William, Duke of Cumberland, and Peg Woffington. Pond was also a prolific etcher, and used various mixed processes of engraving by means of which he imitated or reproduced the works of masters such as Rembrandt, Raphael, Salvator Rosa, Parmigiano, Caravaggio, and the Poussins. In 1734-5 he published a series of his plates under the title Imitations of the Italian Masters. He also collaborated with George Knapton in the publication of the Heads of Illustrious Persons, after Jacobus Houbraken and George Vertue, with lives by Thomas Birch (London, 1743-52); and engraved sixty-eight plates for a collection of ninety-five reproductions from drawings by famous masters, in which Knapton was again his colleague. Another of his productions was a series of twenty-five caricatures after Pier Leone Ghezzi, republished in 1823 and 1832 as Eccentric Characters.
ZOFFANY Johann
German/English painter (b. 1733, Frankfurt, d. 1810, Strand-on-the-Green)
BADALOCCHIO, Sisto
Italian Baroque Era Painter, 1585-ca.1619 Italian painter and etcher. His formation as an artist took place within the Carracci circle. According to Malvasia, he may have attended the Carracci Academy in Bologna, before returning to Parma in 1600 as the pupil of Agostino Carracci when the latter entered the service of Ranuccio I Farnese, 4th Duke of Parma. After Agostino's death in 1602, Badalocchio and his fellow pupil Giovanni Lanfranco were sent by the Duke to Rome in order to complete their training in the studio of Annibale Carracci, who was then working in the Palazzo Farnese. Badalocchio remained with Annibale until the latter's death in 1609. He participated in most of the projects that occupied the studio assistants during those years, such as the frescoes on the walls of the Galleria in the Palazzo Farnese and those previously in the Herrera Chapel in S Maria di Monserrato, Rome (now detached and divided between Madrid, Prado, and Barcelona, Mus. A. Catalunya), although his precise share in them is still debated. His first signed works are etchings, one (1606) after the antique sculpture of the Laokoon (Rome, Vatican, Mus. Pio-Clementino) and 23 (1607, part of a series of 54 executed in collaboration with Lanfranco) after Raphael's frescoes in the Vatican Logge; they reveal the romanizing character of his training. Yet his independent paintings of this early period reveal the influence of Lanfranco, which was to last throughout his career; the lively play of light and shade suggests his allegiance to Emilian art.