(Russian: 26 January (greg.: 7 February) 1846, Moscow - 21 February 1920, Petrograd) was a Russian painter, art collector, and teacher. Portrait by Vladimir Makovsky of Empress Maria Fyodorovna. Gatchina Palace, 1885Makovsky was the son of collector, Yegor Ivanovich Makovsky, who was one of the founders of the Moscow Art School. Vladimir had two brothers, Nikolai Makovsky and Konstantin Makovsky, and one sister, Alexandra Makovsky, all of whom were famous painters. Vladimir studied at the Moscow School of Painting, Sculpture, and Architecture. He finished his studies in 1869 and the following year became one of the founding members of the Association of Travelling Art Exhibitions, where his many years of prolific work brought him to a leading position Makovsky's work was defined by a perpetual humor as well as blatant irony and scorn. During the seventies his paintings dealt primarily with small-town folk. His pictures, "The Grape-juice Seller" (1879), "Fruit-Preserving" (1876) and "The Congratulator" (1878) depict various scenes where the mood is finely conceived and almost laughter-inducing. Other works of his, such as "The Benefactor" (1874) and "The Convict" (1878) are profoundly socially-conscious. In them, Makovsky either criticizes the false sympathy of the aristocracy towards the poor, or draws attention to the oppression and persecution by the tsarist gendarmerie. In 1878, he became an academician. In the eighties, during the time of Russian "democratic" painting, Makovsky produced some of his most valued works. In 1882, he was made professor at the Moscow Art School after the death of Vasili Perov. Some of Makovsky's greatest works of this period include "In the Ante-room of the Court of Conciliation" (1880), "The Released Prisoner" (1882), and "The Collapse of the Bank" (1881). From the end of the 1880s, Makovsky began to produce more gloomy works. Quintessential works of this period include "You Shall Not Go" (1892), and "On the Boulevard" (1888). In 1894, Makovsky became Rector of the Preparatory school of the Academy of Art. After the First Russian Revolution, he painted "January 9, 1905, on Vasilyev Island" in which he depicts the armed police firing at defenseless people. In another painting "The Sacrifices on the Khodyn Field" in which a thousand people lost their lives during the coronation ceremony in 1896 of Nicholas II, he again stood uncompromisingly on the side of the oppressed people. After the 1917 October Revolution, Makovsky helped carry over the realist traditions to the early stages of Socialist Realism.   Related Paintings of Vladimir Makovsky :. | Maid with children | His First Suit | Armenbesuch | Not Guilty | Don't Go |
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Pietro Faccini
(1562 - 1602 or 1614), was an Italian painter, active near his birthplace of Bologna in styles bridging Mannerism and the nascent Baroque. According to Malvasia, the main biographer of the early Bolognese Baroque, he apprenticed in his twenties with the with Ludovico and Annibale Carracci. His style departs from the linear "Roman" quality assumed by his mentor, and has a more sparkling quality, influenced by Tintoretto, Correggio, and Bassano. His documented painterly output consists of about a dozen works. In 1590, he painted the Martyrdom of Saint Lawrence, now found in the church of San Giovanni in Monte (Bologna). He completed altarpieces for San Domenico and Santa Maria dei Servi in 1593-1594 and a Presepio in the Pinacoteca of Bologna.
John Scarlett Davies
Australian Painter, 1864-1939
Ludovic Piette
French Painter, 1826-1878.French painter. He studied at the Ecole des Beaux-Arts in Paris during the 1850s under Isidore Pils and Thomas Couture. He attended classes at the Acad?mie Suisse and made his Salon d?but in 1857 with The Scorpion Broom (ex-Mus. B.-A., Rouen). His early works were often based on literary sources and include The Phantoms (exh. Salon 1859) and The Witches Appearing to Macbeth (exh. Salon 1861). Piette only exhibited at the Salon on two further occasions (1872 and 1876), preferring instead to sell his work at auction in the H?tel Drouot. In the early 1860s he abandoned literary subjects in favour of working directly from nature, a shift that probably relates to his developing friendship with Camille Pissarro. This association is first documented by Pissarros portrait of Piette in his Studio (1861; Dr and Mrs Jordan H. Trafimow priv. col.) and an important correspondence between the two artists from 1863 to 1877 survives. Piette portrayed Pissarro painting out of doors (c. 1870; priv. col., see Pissarro, exh. cat., ACGB, 1980, no. 322).