French Rococo Era Painter, ca.1715-1783 French pastellist, painter and engraver. He was, with his older contemporary Maurice Quentin de La Tour, the most important pastel artist and portrait painter in 18th-century France. Perronneau trained first with the engraver Laurent Cars and then with the successful portrait painter Hubert Drouais. His work as an engraver, which includes prints after Charles-Joseph Natoire, Fran?ois Boucher, Edme Bouchardon and Carle Vanloo (see Vaillat and Ratouis de Limay,), did not continue beyond the 1730s. Nevertheless, his involvement with Cars, much of whose work consisted in the reproduction of portraits by artists such as Hyacinthe Rigaud, left its mark on the composition of his pastels, most of which employ the bust-length format, often within a feigned stone oval typical of 17th- and 18th-century engraved portraits. His early pastel portrait of Mme Desfriches (1744; France, A.M. Ratouis de Limay priv. col.), mother of his friend and patron, the Orl?ans collector Aignan-Thomas Desfriches,   Related Paintings of PERRONNEAU, Jean-Baptiste :. | Jean-Baptiste Oudry Painter (mk05) | Portrait of Jacques Cazotte af | A Girl with a Kitten | A Girl with a Kitten | Madame de Sorquainville (mk05) |
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Hugo Wilhelm Kauffmann
(7 August 1844 - 30 December 1915) was a German painter, the son of Hermann Kauffmann. Kauffmann was born in Hamburg. In 1861 he went to Frankfurt and worked there under Jakob Becker, Edward Jakob von Steinle and Johann Nepomuk Zwerger. From 1863-71 he lived in Kronberg in the Taunus. During this time he spent one winter in Hamburg and a five-month period in Desseldorf too; afterwards he spent 1½ years in Paris, until 1870 when the war drove him out. He lived until 1871 in Munich. He died in Prien at the Chiemsee in 1915.
Tom roberts
British-born Australian Painter, 1856-1931 Australian painter of English birth. A leader of the HEIDELBERG SCHOOL and pioneer of plein-air Impressionism in Australia, he has been described as 'the father of Australian landscape painting'. Having moved to Melbourne in 1869, he studied at the East Collingwood and Carlton Schools of Design and the National Gallery of Victoria's School of Art (1874-81) while working as a photographic assistant. He led sketching expeditions with Frederick McCubbin and initiated student requests for reforms at the school. Returning to England, he enrolled in the Royal Academy Schools, London, on 6 December 1881, officially recommended by Edwin Long. In the summer of 1883 he toured Spain with the painter John Peter Russell. He learnt something of French Impressionism from Spanish art students Ramon Casas and Loreano Barrau (b 1864), and then followed the latter's advice to visit the Academie Julian in Paris. He returned to Melbourne in 1885 and the following year established the first summer camp at Box Hill with McCubbin and Louis Abrahams (1852-1903), portrayed in his painting the Artists' Camp (c. 1886; Melbourne, N.G. Victoria). According to the painter Arthur Streeton, it was Roberts's 'quick perception and expression of the principles of Impressionism in the year 1886,
Michelangelo Buonarroti
b Caprese 1475 d Rome 1564 Born: March 6, 1475 Caprese, Italy Died: February 18, 1564 Rome, Italy Italian artist Michelangelo was one of the greatest sculptors of the Italian Renaissance and one of its greatest painters and architects. Early life Michelangelo Buonarroti was born on March 6, 1475, in Caprese, Italy, a village where his father, Lodovico Buonarroti, was briefly serving as a Florentine government agent. The family moved back to Florence before Michelangelo was one month old. Michelangelo's mother died when he was six. From his childhood Michelangelo was drawn to the arts, but his father considered this pursuit below the family's social status and tried to discourage him. However, Michelangelo prevailed and was apprenticed (worked to learn a trade) at the age of thirteen to Domenico Ghirlandaio (1449?C1494), the most fashionable painter in Florence at the time. After a year Michelangelo's apprenticeship was broken off. The boy was given access to the collection of ancient Roman sculpture of the ruler of Florence, Lorenzo de' Medici (1449?C1492). He dined with the family and was looked after by the retired sculptor who was in charge of the collection. This arrangement was quite unusual at the time. Early works Michelangelo's earliest sculpture, the Battle of the Centaurs (mythological creatures that are part man and part horse), a stone work created when he was about seventeen, is regarded as remarkable for the simple, solid forms and squarish proportions of the figures, which add intensity to their violent interaction. Soon after Lorenzo died in 1492, the Medici family fell from power and Michelangelo fled to Bologna. In 1494 he carved three saints for the church of San Domenico. They show dense forms, in contrast to the linear forms which were then dominant in sculpture. Rome After returning to Florence briefly, Michelangelo moved to Rome. There he carved a Bacchus for a banker's garden of ancient sculpture. This is Michelangelo's earliest surviving large-scale work, and his only sculpture meant to be viewed from all sides. In 1498 the same banker commissioned Michelangelo to carve the Piet?? now in St. Peter's. The term piet?? refers to a type of image in which Mary supports the dead Christ across her knees. Larger than life size, the Piet?? contains elements which contrast and reinforce each other: vertical and horizontal, cloth and skin, alive and dead, female and male. Florence On Michelangelo's return to Florence in 1501 he was recognized as the most talented sculptor of central Italy. He was commissioned to carve the David for the Florence Cathedral. Michelangelo's Battle of Cascina was commissioned in 1504; several sketches still exist. The central scene shows a group of muscular soldiers climbing from a river where they had been swimming to answer a military alarm. This fusion of life with colossal grandeur henceforth was the special quality of Michelangelo's art. From this time on, Michelangelo's work consisted mainly of very large projects that he never finished. He was unable to turn down the vast commissions of his great clients which appealed to his preference for the grand scale. Pope Julius II (1443?C1513) called Michelangelo to Rome in 1505 to design his tomb, which was to include about forty life-size statues. Michelangelo worked on the project off and on for the next forty years. Sistine Chapel In 1508 Pope Julius II commissioned Michelangelo to decorate the ceiling of the chief Vatican chapel, the Sistine. The traditional format of ceiling painting contained only single figures. Michelangelo introduced dramatic scenes and an original framing system, which was his earliest architectural design. The chief elements are twelve male and female prophets (the latter known as sibyls) and nine stories from Genesis. Michelangelo stopped for some months halfway along. When he returned to the ceiling, his style underwent a shift toward a more forceful grandeur and a richer emotional tension than in any previous work. The images of the Separation of Light and Darkness, and Ezekiel illustrate this greater freedom and mobility. After the ceiling was completed in 1512, Michelangelo returned to the tomb of Julius and carved a Moses and two Slaves. His models were the same physical types he used for the prophets and their attendants in the Sistine ceiling. Julius's death in 1513 halted the work on his tomb. Pope Leo X, son of Lorenzo de' Medici, proposed a marble facade for the family parish church of San Lorenzo in Florence to be decorated with statues by Michelangelo. After four years of quarrying and designing the project was canceled. Medici Chapel In 1520 Michelangelo was commissioned to execute the Medici Chapel for two young Medici dukes. It contains two tombs, each with an image of the deceased and two allegorical (symbolic) figures: Day and Night on one tomb, and Morning and Evening on the other. A library, the Biblioteca Laurenziana, was built at the same time on the opposite side of San Lorenzo to house Pope Leo X's books. The entrance hall and staircase are some of Michelangelo's most astonishing architecture, with recessed columns resting on scroll brackets set halfway up the wall and corners stretched open rather than sealed. Poetry Michelangelo wrote many poems in the 1530s and 1540s. Approximately three hundred survive. The earlier poems are on the theme of Neoplatonic love (belief that the soul comes from a single undivided source to which it can unite again) and are full of logical contradictions and intricate images. The later poems are Christian. Their mood is penitent (being sorrow and regretful); and they are written in a simple, direct style. Last Judgment In 1534 Michelangelo left Florence for the last time, settling in Rome. The next ten years were mainly given over to painting for Pope Paul III (1468?C1549).