French Academic Painter and Sculptor, 1824-1904 was a French painter and sculptor in the style now known as Academicism. The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits and other subjects, bringing the Academic painting tradition to an artistic climax. Born at Vesoul (Haute-Saône), he went to Paris in 1840 where he studied under Paul Delaroche, whom he accompanied to Italy (1843-1844). He visited Florence, Rome, the Vatican and Pompeii, but he was more attracted to the world of nature. Taken by a fever, he was forced to return to Paris in 1844. On his return he followed, like many other students of Delaroche, into the atelier of Charles Gleyre and studied there for a brief time. He then attended the Ecole des Beaux-Arts. In 1846 he tried to enter the prestigious Prix de Rome, but failed in the final stage because his figure drawing was inadequate. He tried to improve his skills by painting The Cockfight (1846), an academic exercise depicting a nude young man and a lightly draped girl with two fighting cocks and in the background the Bay of Naples. He sent this painting to the Salon of 1847, where it gained him a third-class medal. This work was seen as the epitome of the Neo-Grec movement that had formed out of Gleyre's studio (such as Henri-Pierre Picou (1824-1895) and Jean-Louis Hamon), and was championed by the influential French critic Theophile Gautier. G??rôme abandoned his dream of winning the Prix de Rome and took advantage of his sudden success. His paintings The Virgin, the Infant Jesus and St John (private collection) and Anacreon, Bacchus and Cupid (Mus??e des Augustins, Toulouse, France) took a second-class medal in 1848. In 1849 he produced the paintings Michelangelo (also called In his studio) (now in private collection) image of the painting and A portrait of a Lady (Mus??e Ingres, Montauban). In 1851 he decorated a vase, later offered by Emperor Napoleon III of France to Prince Albert, now part of the Royal Collection at St. James's Palace, London. He exhibited Bacchus and Love, Drunk, a Greek Interior and Souvenir d'Italie, in 1851; Paestum (1852); and An Idyll (1853). In 1852 G??rôme received a commission by Alfred Emilien Comte de Nieuwerkerke, Surintendant des Beaux-Arts to the court of Napoleon III, for the painting of a large historical canvas, the Age of Augustus image of the painting. In this canvas he combines the birth of Christ with conquered nations paying homage to Augustus. Thanks to a considerable down payment, he was able to travel in 1853 to Constantinople, together with the actor Edmond Got. This would be the first of several travels to the East : in 1854 he made another journey to Turkey and the shores of the Danube, where he was present at a concert of Russian conscripts, making music under the threat of a lash. In 1854 he completed another important commission of decorating the Chapel of St. Jerome in the church of St. S??verin in Paris. His Last communion of St. Jerome in this chapel reflects the influence of the school of Ingres on his religious works. To the exhibition of 1855 he contributed a Pifferaro, a Shepherd, A Russian Concert, The Age of Augustus and Birth of Christ.   Related Paintings of Jean-Leon Gerome :. | Phryne before the Areopagus, | Oedipus,or General Bonaparte in Egypt | Jeunes Grecs Faisant battre des coqus | General Bonaparte in Kairo | Painting Breathes Life Into Sculpture |
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William henry mander
fl.1880-1922
Ivan Vishnyakov
(1699 - 1761) was a Russian painter. Vishnyakov was born in Moscow. He was a pupil of Louis Caravaque, a French artist, who worked in Russia. Vishnyakov worked in the painting department of the Ministry of Construction, and painted primarily portraits at that time. In 1739 he was promoted to the head of the department, and led the decoration of many palaces and churches in Moscow, Kiev, and Saint Petersburg. He died in Saint Petersburg in 1761.
Andrea del Sarto
Italian High Renaissance Painter , 1486-1530 Italian painter and draughtsman. He was the leading painter in Florence in the early years of the 16th century, and, under the influence of Leonardo da Vinci, Fra Bartolommeo, Michelangelo and Raphael, he elaborated and perfected the classical style of the High Renaissance. In the second decade of the 16th century his art anticipated aspects of Mannerism, while his direct, immediate works of the 1520s became important models for the more naturalistic Tuscan artists of the Counter-Reformation. He painted mainly religious works, including both altarpieces and major cycles of frescoes. His portraits, distinguished by a dreamily poetic quality,