Spanish realist Painter , 1841-1920 Son of Federico de Madrazo y K?ntz. Because of his ability and training with his father, Federico, in the Real Academia de S Fernando in Madrid and with L?on Cogniet in Paris, he seemed destined to continue the family tradition of academic painting. However, due to the influence of the Belgian Alfred Stevens, of his brother-in-law, Mariano Jos? Bernardo Fortuny y Marsal, and the Parisian environment, he exchanged dry historical painting (e.g. Arrival in Spain of the Body of the Apostle St James, 1858, and Ataulfo, 1860) for the preciousness of the tableautin, the small, intimate genre painting. He lived in Paris and New York and became so remote from Spanish artistic life that he and Fortuny y Marsal were the only Spanish artists not to participate in any national exhibition, and because of this the Spanish state never directly acquired their works. In 1882, with Giuseppe De Nittis, Stevens and the gallery owner Georges Petit, he co-founded the Exposition Internationale de Peinture, designed to promote foreign artists in Paris. Madrazo Garreta's most characteristic works are the female portrait and the witty and elegant genre painting, with soft, delicate tones and suggestive poses. The influence of the Rococo and of Japanese art is reflected in his painting, which expresses an exquisite aristocratic or bourgeois ideal, the illusion of a refined, sensual and superficial life. Consequently,   Related Paintings of Raimundo de Madrazo y Garreta :. | A Gypsy | Toskanski motiv I | Marquise d' Hervey Saint-Denys | Toskanski motiv III | Kostanjevica |
Related Artists:
Charles Collins
British Pre-Raphaelite Painter, 1828-1873
Demuth, Charles
American Precisionist Painter, 1883-1935 American painter and illustrator. He was deeply attached to Lancaster, where his family had run a tobacco shop since 1770. Although not a Regionalist, Demuth maintained a strongly localized sense of place, and Lancaster provided him with much of the characteristic subject-matter of both his early and later work. He trained in Philadelphia at the Drexel Institute of Art, Science and Industry (1901-5) and at the Pennsylvania Academy of the Fine Arts (1905-11), where his teachers included Thomas Anshutz, Henry McCarter (1864-1942), Hugh Breckenridge (1870-1937) and William Merritt Chase.
Simon Bening
Flemish Northern Renaissance Manuscript Illuminator, ca.1483-1561 was a 16th century miniature painter of the Ghent-Bruges school, the last major artist of the Netherlandish tradition. Bening was trained in his father Alexander Bening's miniature painting workshop in Ghent. He made his own name after moving to Bruges. His specialty was the book of hours, but by his time these were becoming relatively unfashionable, and only produced for royalty and the very rich. He also created genealogical tables and portable altarpieces on parchment. Many of his finest works are Labours of the Months for Books of Hours which are largely small scale landscapes, at that time a nascent genre of painting. In other respects his style is relatively little developed beyond that of the years before his birth, but his landscapes serve as a link between the 15th century illuminators and Peter Brueghel. His self-portrait and other portraits equally are early examples of the portrait miniature. He served as dean of the calligraphers, booksellers, illuminators, and bookbinders in the Guild of Saint John and Saint Luke. He created books for German rulers, like Cardinal Albrecht of Brandenburg, and royalty like Emperor Charles V and Don Fernando, the Infante of Portugal. The artistic tradition continued in his family. His eldest daughter, Levina Teerlinc