Spanish, 1848-1921 Spanish painter and museum official. He first studied in Saragossa with the stage designer Mariano Pescador (d 1886), and in 1866 moved to Madrid where he began to work with the stage designers and decorators Ferri and Busato. He entered the Escuela Superior de Pintura, Escultura y Grabado and also attended the Academia de Acuarelistas. In 1873 Pradilla and his fellow student Casto Plasencia (1846-90) won history painting scholarships to study at the newly founded Academia Espaola de Bellas Artes in Rome. In 1874 he sent from Rome a copy of Raphael's Dispute over the Holy Sacrament, a work Pradilla completed in collaboration with Alejandro Ferrant (b 1844), another Spanish scholarship holder. During Pradilla's second and third years abroad he travelled through France, visiting the Paris Exposition Universelle of 1875, and Italy, where he was particularly impressed by Venice and the works of Veronese, Titian and Jacopo Tintoretto. Pradilla won a major prize in 1878 at the Exposicien Nacional de Bellas Artes in Madrid; as a result of this success he received the commission for another large picture on a historical theme, the Surrender of Granada (1882; in situ) for the Palacio del Senado (now Pal. de las Cortes) in Madrid. This work shows Pradilla's concern to paint from life in his treatment of the landscape of Granada. He produced other paintings on related subjects, including Mad Queen Joanna Imprisoned at Tordesillas (priv. col., see Pardo Canalis, pl. xviii) and the Sigh of the Moor (Madrid, Rodriguez Bauz priv. col., see Pardo Canalis, pl. xvii). Pradilla also painted lively scenes of local life and colour. The years of his stay in Rome, where he was director of the Academia Espaola between 1881 and 1883, allowed him to get to know the country around Rome and many other places in Italy.  Related Paintings of Ortiz, Francisco Pradilla :. | Read-headed Youth Holding a Drawing | David and Goliath | St Nicholas ryy | with Golfers and Skaters | Der Engel und Tobias mit dem Fisch |
Related Artists:
Claude Joseph Vernet
Claude-Joseph Vernet (14 August 1714 - 3 December 1789) was a French painter. His son, Antoine Charles Horace Vernet, was also a painter. Vernet was born in Avignon. When only fourteen years of age he aided his father, Antoine Vernet (1689-1753),[1] a skilled decorative painter, in the most important parts of his work. The panels of sedan chairs, however, could not satisfy his ambition, and Vernet started for Rome. The sight of the sea at Marseilles and his voyage thence to Civitavecchia (Papal States' main port on the Tyrrhenian Sea) made a deep impression on him, and immediately after his arrival he entered the studio of a marine painter, Bernardino Fergioni. Slowly Vernet attracted notice in the artistic milieu of Rome. With a certain conventionality in design, proper to his day, he allied the results of constant and honest observation of natural effects of atmosphere, which he rendered with unusual pictorial art. Perhaps no painter of landscapes or sea-pieces has ever made the human figure so completely a part of the scene depicted or so important a factor in his design. In this respect he was heavily influenced by Giovanni Paolo Panini, whom he probably met and worked with in Rome. Vernet's work draws on natural themes, but in a way that is neither sentimental or emotive. The overall effect of his style is wholly decorative.[2] "Others may know better", he said, with just pride, "how to paint the sky, the earth, the ocean; no one knows better than I how to paint a picture". His style remained relatively static throughout his life. His works' attentiveness to atmospheric effects is combined with a sense of harmony that is reminiscent of Claude Lorrain.
Paul Bril
Flemish Baroque Era Painter, ca.1554-1626 Paul (1554-1626) and Mattheus (1550-1583) Brill (or Bril) were brothers, both born in Antwerp, who were landscape painters who worked in Rome after earning papal favor. They are also described as painters of capricci (whims or fancies) or vedute ideate or veduta di fantasia, with typical rustic hills with a few ruins. Mattheus began work on several frescoes in Rome from 1570 onwards, and his work includes the Vatican Seasons. Mattheus died young, and his brother continued his work around 1574. Paul painted frescoes such as the landscapes in the Casino Rospigliosi (Rome), and The Roman Forum, which showed this site for what it had become: a slum for squatters and pasture for livestock (so much so that the place was nicknamed Campo Vaccino, or The Cowfield). His masterpiece may be a fresco in the Clementine Hall of the Vatican. Paul also did engravings and small cabinet paintings on copper, some of which are signed with a pair of spectacles (a pun on the French word brilles, spectacles). Some of these were collaborations with Johann Rottenhammer, who according to a dealer letter of 1617 painted the figures in Venice and then sent the plates to Rome for Bril to complete the landscape. He collaborated with his friend Adam Elsheimer, who he both influenced and was influenced by, on one painting (now Chatsworth House)
Alexandre Cabanel
1823-1889 French Alexandre Cabanel Locations French painter and teacher. His skill in drawing was apparently evident by the age of 11. His father could not afford his training, but in 1839 his departement gave him a grant to go to Paris. This enabled him to register at the Ecole des Beaux-Arts the following October as a pupil of Francois-Edouard Picot. At his first Salon in 1843 he presented Agony in the Garden (Valenciennes, Mus. B.-A.) and won second place in the Prix de Rome competition (after Lon Benouville, also a pupil of Picot) in 1845 with Christ at the Praetorium (Paris, Ecole N. Sup. B.-A.). Both Cabanel and Benouville were able to go to Rome, as there was a vacancy from the previous year. Cabanel Death of Moses (untraced), an academic composition, painted to comply with the regulations of the Ecole de Rome, was exhibited at the Salon of 1852. The pictures he painted for Alfred Bruyas, his chief patron at this time (and, like Cabanel, a native of Montpellier), showed more clearly the direction his art had taken during his stay in Italy. Albayde, Angel of the Evening, Chiarruccia and Velleda (all in Montpellier, Mus. Fabre) were the first of many mysterious or tragic heroines painted by Cabanel and show his taste for the elegiac types and suave finish of the Florentine Mannerists.