1518-1594 Italian painter. His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 ?C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.   Related Paintings of Jacopo Tintoretto :. | Doge of Venice Gerolamo Priuli | St.George and the Dragon | Portrati of Alvise Cornaro | Portrait of Nicolaus Padavinus | Bergung des Leichnams des |
Related Artists:
Ludwig Passini
Austrian, 1832-1903
Gustaf Lundberg
Swedish, 1695-1786,Swedish painter and pastellist. He was orphaned early and brought up by his grandfather, the goldsmith Fredrik Richter (1636-1714). In 1710 he was briefly apprenticed to David von Krafft (1655-1724). Against von Krafft's advice, and at his own expense, he travelled to Paris in 1717. He studied first with Hyacinthe Rigaud, Nicolas de Largillierre and Jean-Fran?ois de Troy, learning to paint in a R?gence style less heavy and serious than that taught by von Krafft in Sweden. He also studied drawing under Pierre-Jacques Cazes at the Ecole des Beaux-Arts. In 1720 Rosalba Carriera came to Paris from Italy, bringing with her the fashionable technique of drawing in pastel chalks. Lundberg became her pupil and within a year had mastered the medium, charming the Parisians with his portraits. Until the arrival of Carriera, he had worked only in oils (e.g. the portrait of Gabriel Sack and his Wife Eva Bielke, 1730; priv. col.), but he now turned exclusively to pastels. He received portrait commissions from Louis XV (reg 1715-74), notably for those of his young queen Maria Leszczynska and of her parents Stanislav I Leszczynski and Catherine Opalinska (both 1725; Upplands Vesby, priv. col.), who at that time were living at Chambord. Through the agency of Carl Gustav Tessin, Lundberg was received (re?u) at the Acad?mie Royale de Peinture et de Sculpture in 1741. As his morceaux de reception he executed two portraits of Fran?ois Boucher and Charles-Joseph Nattier, shown at the Salon of 1743.
BORGIANNI, Orazio
Italian Baroque Era Painter, 1578-1616 Orazio Borgianni (c. 1575 - buried 15 January 1616) was an Italian painter and etcher of the Mannerist and early-baroque periods. He was the stepbrother of the sculptor and architect Giulio Lasso. Borgianni was born in Rome, where he was documented in February 1604. He was instructed in the art of painting by his brother, Giulio Borgiani, called Scalzo. The patronage by Philip II of Spain induced him to visit that Spain, where he signed an inventory in January 1605. He returned to Rome from Spain after April 1605 at the height of his career, and most of the work of his maturity was carried out 1605-16. In Spain, he signed a petition to begin an Italianate academy of painting and executed a series of nine paintings for the Convento de Portacoeli, Valladolid, where they remain. From his time in Spain, there remain two of his paintings in the Prado Museum: St Christopher and the Stigmatization of St Francis. On his return to Rome he was patronized by the Spanish ambassador, for whom he painted several pictures, and he was also employed in painting for the churches. He painted as late as 1630. after which he returned to Spain. He frescoed in the apse of the church of San Silvestro in Capite in Rome, a Martyrdom of S.Stefano I and a Messengers of Constantine call on Saint Silvestro (1610). His canvas of San Carlo Borromeo in the church of San Carlo alle Quattro Fontane (1612) is an eclectic and emotive synthesis of both Carracci and tenebrist styles. The influence of Caravaggio is also evident in a painting of the same saint (1616) now in the Hermitage Museum. A lively self-portrait of an earnest, somewhat foppish Borgianni is in the Rome Galleria Nazionale d'Arte Antica.