Romanian Painter, 1838-1907 From 1848 he trained in Bucharest with various church painters, producing icons and religious mural decorations. These works, which soon attracted attention, were influenced in style by the Viennese classicism widespread in the Romanian principalities in the early 19th century and by the Italian academicism established there after 1850 by Gheorghe Tattarescu. The earliest of his known paintings are in the church of SS Constantin and Elena at Baicoi, where his signature can be seen beside that of Nita Pereescu on the icon of St George (1853). He subsequently painted a series of icons (1854-5) at Caldarusani Monastery. In the later ensembles he was assisted by his older brother Georghe Grigorescu, who participated under his direction in the decoration of churches, such as those of the Zamfira (1856-8) and Agapia (1858-60) monasteries. In Nicolae's paintings at Agapia, classicism in Romanian art reached its highest point. The royal icons are distinguished for the elegance of the figures, both in their attitudes and in their drapery.   Related Paintings of Nicolae Grigorescu :. | Convoy of Turkish Prisoners | Painter's Wife | Jew with a Goose | Apple Blossom | Young Shepherd |
Related Artists:
Heinrich Burkel
German, 1802-1869
Charles Landseer
English Painter, 1799-1879
Antoine louis barye
French Romantic Sculptor and Painter, ca.1795-1875, He was a French sculptor most famous for his work as an animalier. Born in Paris, Barye began his career as a goldsmith, like many sculptors of the Romantic Period. After studying under sculptor Francois-Joseph Bosio and painter Baron Antoine-Jean Gros he was in 1818 admitted to the Ecole des Beaux Arts. But it was not until 1823, while working for Fauconnier, the goldsmith, that he discovered his true predilection from watching the wild beasts in the Jardin des Plantes, making vigorous studies of them in pencil drawings comparable to those of Delacroix, then modelling them in sculpture on a large or small scale. In 1831 he exhibited his "Tiger devouring a Crocodile", and in 1832 had mastered a style of his own in the "Lion and Snake." Thenceforward Barye, though engaged in a perpetual struggle with want, exhibited year after year these studies of animals--admirable groups which reveal him as inspired by a spirit of true romance and a feeling for the beauty of the antique, as in "Theseus and the Minotaur" (1847), "Lapitha and Centaur" (1848),