German Painter, 1858-1925 German painter and writer. He grew up on his family's farm and tannery. As a child he showed interest in art, taking informal lessons in drawing from a local carpenter and caricaturing his primary school teachers. Corinth's father sent him to secondary school in the nearby city of K?nigsberg (now Kaliningrad), where he lived with his widowed aunt. A superstitious woman fond of story-telling, she possessed what Corinth later described as a coarse temperament and an unrestrained, 'demonic' humour. These qualities and his aunt's bohemian acquaintances, including fortune-tellers and soothsayers, fascinated the young Corinth, accustomed to his more reserved parents.   Related Paintings of Lovis Corinth :. | Fishermen's Cemetery at Nidden (nn02) | Wilhelmine mit Zopfen | Junimond | Emperor-s Day in Hamburg | Walchensee, blaue Landschaft |
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wilhelm list
Siegmund Wilhelm List (May 14, 1880 ?C August 17, 1971), was a German field marshal during World War II, and at the start of the war was based in Slovakia in command of the Fourteenth Army. List was born in Oberkirchberg near Ulm, Weerttemberg, Germany in 1880 and entered the Bavarian Army in 1898 as a cadet. In 1900 he was promoted to Lieutenant and in 1913 he joined the general staff as a Hauptmann. He served as a staff officer in World War I. After the war List stayed in the Reichswehr and most of his assignments were as an administrator. In 1927 he was promoted to Oberst, in 1930 he was promoted to General-Major and in 1932 he was promoted to General-Leutnant. In 1938 after the Anschluss of Austria he was made responsible for integrating the Bundesheer into the Wehrmacht. During 1939 List commanded the German 14th Army in the invasion of Poland. From 1939 to 1941 he commanded the German 12th Army in France and Greece. During 1941 he was Commander-in-Chief South-East. In July 1942 he was Commander-in-Chief of Army Group A on the Eastern Front in the Soviet Union.
Carlo Ceresa
Carlo Ceresa (January 20, 1609 - January 29, 1679) was an Italian painter of the Baroque period active mainly around Bergamo. His early life and training are poorly recorded. He likely trained in Bergamo. He visited Venice, yet esconced himself in the small town of San Giovanni Bianco in Val Bembrana. Mostly recalled for his portraiture, Ceresa also painted altarpieces and religious works in an understated fashion.
Garofalo
1481-1559 Italian Garofalo Gallery Italian painter. Active mainly in Ferrara and the district around the Po delta, he was one of the most outstanding figures in Emilian classicism during the first half of the 16th century. In 1497 Garofalo father paid Boccaccio Boccaccino to teach his son the rudiments of painting. Garofalo first works were directly influenced by the Cremonese painter, to whom they were formerly even attributed. They consist of a series of small paintings depicting the Virgin and Child. The example in the Ca d Oro in Venice must have been Garofalo first painting and reveals not only the lessons learned from Boccaccino, but also signs of the influence of Domenico Panetti (c. 1460-before 1513), traditionally recorded as his first master. Another Virgin and Child (Assisi, Perkins priv. col.) shows signs of the early influence of Lorenzo Costa the elder, while the example in the Nationalmuseum, Copenhagen, shows a similarity with the early works of his contemporary, Lodovico Mazzolino. A particularly important project in Ferrara during the earliest years of the 16th century, involving numerous highly skilled artists, was the fresco decoration of the oratory of the Concezione. The frescoes (Ferrara, Pin. N.) represent a significant development in the city art. Garofalo hand has been identified in the Presentation in the Temple, in which he reveals a familiarity not only with local art, but also with the high points of Bolognese classicism, whose greatest exponents were Francesco Francia and Lorenzo Costa the elder. Around 1505, Garofalo works show a close familiarity with artistic developments in Bologna, in particular the mature style of Costa and the decoration in 1505-6, by Francesco Francia, Costa, Aspertini and others, of the oratory of S Cecilia in S Giacomo Maggiore. Garofalo Virgin Enthroned between SS Martin and Rosalia (Florence, Uffizi), created for Codigoro Cathedral, should be seen within this context, whereas the small altarpiece for the Arcivescovado, Ferrara, although executed at the same time, shows early, if faint, signs of the influence of Venetian painting of the period.