British 1749-1824,was an English line-engraver born in London. He was originally apprenticed to what is called a bright engraver, and practised as a writing engraver, but gradually became inspired by the higher branches of the engraver's art. Among his earlier plates are some illustrations, after Stothard, for the Novelists' Magazine. He engraved the "Doctors Disputing on the Immaculateness of the Virgin" and the "Ecce Homo" of Guido Reni, the "St Cecilia" of Domenichino, the "Virgin and Child" of Dolci, and the portrait of John Hunter of Sir Joshua Reynolds. His style of eta-graving is thoroughly masterly and original, excellent in its play of line and rendering of half-tints and of "colour." He died at Chiswick on the 25th of July 1824. In his youth, owing to his hotly expressed adherence to the politics of Paine and Horne Tooke, he was examined by the privy council on a charge of treason. Mesmer and Brothers found in Sharp a stanch believer; and for long he maintained Joanna Southcott at his own expense. As an engraver he achieved a European reputation, and at the time of his death he enjoyed the honour of being a member of the Imperial Academy of Vienna and of the Royal Academy of Munich.   Related Paintings of William Sharp :. | Water a kammare,dar he avlas,fods,diar and dor | oil painting by Joseph Nawahi, 1888, Kamehameha Schools, Honolulu | Portrait Study of Janet Hutchinson | Accolade | Nude Woman (mk12) |
Related Artists:
DARET, Jacques
Netherlandish Northern Renaissance Painter, ca.1404-1470 was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil,
Salvator Rosa
1615-1673 Italian Salvator Rosa Galleries Salvatore Rosa (1615 - March 15, 1673) was an Italian Baroque painter, poet and printmaker, active in Naples, Rome and Florence. As a painter, he is best known as an "unorthodox and extravagant" and a "perpetual rebel" proto-Romantic. His life and writings were equally colorful. He continued apprenticeship with Falcone, helping him complete his battlepiece canvases. In that studio, it is said that Lanfranco took notice of his work, and advised him to relocate to Rome, where he stayed from 1634-6. Returning to Naples, he began painting haunting landscapes, overgrown with vegetation, or jagged beaches, mountains, and caves. Rosa was among the first to paint "romantic" landscapes, with a special turn for scenes of picturesque often turbulent and rugged scenes peopled with shepherds, brigands, seamen, soldiers. These early landscapes were sold cheaply through private dealers. This class of paintings peculiarly suited him. He returned to Rome in 1638-39, where he was housed by Cardinal Francesco Maria Brancaccio, bishop of Viterbo. For the Chiesa Santa Maria della Morte in Viterbo, Rosa painted his first and one of his few altarpieces with an Incredulity of Thomas. While Rosa had a facile genius at painting, he pursued a wide variety of arts: music, poetry, writing, etching, and acting. In Rome, he befriended Pietro Testa and Claude Lorraine. During a Roman carnival play he wrote and acted in a masque, in which his character bustled about Rome distributing satirical prescriptions for diseases of the body and more particularly of the mind. In costume, he inveighed against the farcical comedies acted in the Trastevere under the direction of Bernini. While his plays were successful, this also gained him powerful enemies among patrons and artists, including Bernini himself, in Rome. By late 1639, he had had to relocate to Florence, where he stayed for 8 years. He had been in part, invited by a Cardinal Giancarlo de Medici. Once there, Rosa sponsored a combination of studio and salon of poets, playwrights, and painters --the so called Accademia dei Percossi ("Academy of the Stricken"). To the rigid art milieu of Florence, he introduced his canvases of wild landscapes; while influential, he gathered few true pupils. Another painter poet, Lorenzo Lippi, shared with Rosa the hospitality of the cardinal and the same circle of friends. Lippi encouraged him to proceed with the poem Il Malmantile Racquistato. He was well acquainted also with Ugo and Giulio Maffei, and housed with them in Volterra, where he wrote four satires Music, Poetry, Painting and War. About the same time he painted his own portrait, now in the National Gallery, London.
Lilla Cabot Perry
American Impressionist Painter, 1848-1933 was an American artist who worked in the Impressionist style, rendering portraits and landscapes in the free form manner of her mentor, Claude Monet. Perry was an early advocate of the French Impressionist style and contributed to its reception in the United States. Perry's early work was shaped by her exposure to the Boston school of artists and her travels in Europe and Japan. She was also greatly influenced by Ralph Waldo Emerson's philosophies and her friendship with Camille Pissarro. Although it was not until the age of thirty-six that Perry received formal training, her work with artists of the Impressionist, Realist, Symbolist, and German Social Realist movements greatly affected the style of her oeuvre. Boston native Lilla Cabot Perry was born on January 13, 1848 to Dr. Samuel Cabot, a distinguished surgeon, and Hannah Lowell Jackson Cabot. What is known of her early life reveals a childhood that allowed her the freedom of exploring her interests and creativity. Perry studied literature, language, poetry, and music. There are a few references to Perry having informal sketching sessions with her friends however she had no formal training in the arts before 1884. As a child she additionally enjoyed reading books and playing sports outdoors. Because of her family's prominence in Boston society,