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8 January 1836 – 25 June 1912. Most renowned painters.

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Mancini, Antonio
Strada panoramica per San Michele in Bosco a Bologna

ID: 97176

Mancini, Antonio Strada panoramica per San Michele in Bosco a Bologna
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Mancini, Antonio Strada panoramica per San Michele in Bosco a Bologna


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Mancini, Antonio

Italian Academic Painter, 1852-1930 Italian painter. He entered the Istituto di Belle Arti, Naples, at the age of 12; while still an adolescent he produced accomplished works such as Head of a Young Girl (1867; Naples, Capodimonte). On his graduation in 1873, Mancini, together with Francesco Paolo Michetti and Vincenzo Gemito, was at the forefront of VERISMO in Neapolitan art. Sharing a studio with Gemito, he painted the street boys, musicians and dancers of Naples, creating an anti-academic, popular art. His patron, Albert, Count Cahen of Antwerp (1846-1903), encouraged him to visit Paris in 1875, where he met Manet and Degas. After a second visit in 1877  Related Paintings of Mancini, Antonio :. | Chinese Laundry | Drifting | Sur la place ensoleillee de l eglise | Autumn in the Mountains | Girl in Black |
Related Artists:
Victor Westerholm
Finnish, 1860-1919 Finnish painter. He studied at the School of Drawing in Turku from 1869 to 1878. In 1878 he travelled to Dosseldorf and enrolled at the Kunstakademie, where he attended classes on landscape painting by Eugen Docker until 1886. He spent his summers in Finland, on the aland Islands, preparing sketches that provided the groundwork for many of the paintings he produced in Dosseldorf. Although Westerholm began working according to the principles of studio painting, his vivid studies are often imbued with the crispness of the plein-air style. In the early 1880s he concentrated on painting autumnal scenes and rapidly became the leading landscape artist of the younger generation with such works as the Mail-packet Jetty at Ecker (1885; Hemeenlinna, A. Mus.).
Arshile Gorky
Armenian 1904-1948 Arshile Gorky Gallery Gorky was born in the village of Khorkom near Van, Turkey. It is not known exactly when he was born: it was sometime between 1902 and 1905. (In later years Gorky was vague about even the date of his birth, changing it from year to year.) In 1910 his father emigrated to America to avoid the draft, leaving his family behind in the town of Van. Gorky fled Van in 1915 during the Armenian Genocide and escaped with his mother and his three sisters into Russian-controlled territory. In the aftermath of the genocide, Gorky's mother died of starvation in Yerevan in 1919. Gorky was reunited with his father when he arrived in America in 1920, aged 16, but they never grew close. At age 31, Gorky married. He changed his name to Arshile Gorky, in the process reinventing his identity (he even told people he was a relative of the Russian writer Maxim Gorky). In 1922, Gorky enrolled in the New School of Design in Boston, eventually becoming a part-time instructor. During the early 1920s he was influenced by impressionism, although later in the decade he produced works that were more postimpressionist. During this time he was living in New York and was influenced by Paul Cezanne. In 1927, Gorky met Ethel Kremer Schwabacher and developed a life lasting friendship. Schwabacher was his first biographer.
Domenico di Pace Beccafumi
(1486?CMay 18, 1551) was an Italian Renaissance-Mannerist painter active predominantly in Siena. He is considered one of the last undiluted representatives of the Sienese school of painting. Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist. In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school.






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