Related Paintings of Peter Isaacz :. | Willows at Vetheuil | Portrait of Anna Maria Luisa de' Medici | Scenes from the life of Magdalene | Breton Women with Seaweed | A Helping Hand |
Related Artists:
CANTARINI, Simone
Italian painter, Bolognese school (b. 1612, Pesaro, d. 1648, Pesaro) Simone Cantarini (also known as Simone da Pesaro; 12 April 1612 - 1648) was an Italian painter and etcher of the Bolognese School of painting. Cantarini was born in Oropezza near Pesaro, then part of the Papal States. Initially he was a pupil of the Venetian Claudio Ridolfi and Pesarese Giovanni Giacomo Pandolfi, and then, for about 4 years (1635-1639), of Guido Reni. He soon fought with his mentor, and did not return to Bologna till after Reni had died (1642). His pictures are generally derivative. Some of his works have been mistaken for examples of Reni. Among his principal paintings are St. Anthony, at Cagli; the Magdalene, at Pesaro; the Transfiguration in the Brera Gallery, Milan; the Portrait of Guido, in the Bologna gallery; and St. Romuald, in the Casa Paolucci. His most celebrated etching is Jupiter, Neptune and Pluto, honoring the heraldic arms of Cardinal Borghese.
VAFFLARD, Pierre-Auguste
French painter b. 1777, Paris, d. 1837, Paris,French painter. A pupil of Jean-Baptiste Regnault, he exhibited regularly in the Salon between 1800 and 1831. He executed a number of unremarkable academic works on Classical subjects, for example Electra (1804; exh. Salon 1814) and Orestes Sleeping (1819; both Dijon, Mus. B.-A.). Vafflard gained more success with his Troubadour pictures, which he began to paint in the early 19th century, at the outset of this fashion. They are remarkable for their absence of colour, their theatrical quality and contrasted lighting effects. One of his earliest Troubadour scenes was Emma and Eginhard (exh. Salon 1804; Evreux, Mus. Evreux), based on an episode in the history of Charlemagne's court and painted at a time when the Holy Roman Empire was in fashion in official French circles. In this sentimental painting Vafflard demonstrated his historicizing intentions by emphasizing medieval costume and Gothic architecture and seeking to create an atmosphere similar to the romans de la chevalerie, so highly thought of in France at the end of the 18th century. In the same Salon he exhibited a strange and novel painting, Young Holding his Dead Daughter in his Arms (Angouleme, Mus. Mun.), taken from Edward Young's Night Thoughts (pubd in French in 1769-70).
CIGNANI, Carlo
Italian Baroque Era Painter, 1628-1719 Italian painter and draughtsman. He was the leading master in Bologna during the later decades of the 17th century, commanding a position of authority comparable to that of Carlo Maratti in Rome. He bore the title of Conte, and his biographer Giovan Pietro Zanotti wrote that he 'always worked for glory, not for need'. Zanotti's emphasis on Cignani's 'new manner' refers to the reflective, intimate mood of his art, presaged in the later pictures of Guido Reni and Guercino, and in those of Simone Cantarini. This gentle manner, which prevailed in the second half of the 17th century,