R.F.1948-36 M.N  Related Paintings of louvre :. | The Loggia | Bacino di San Marco (St Mark s Basin) | Kaaterskill Clove | Les Pecheurs a La Ligne | Justice between the Archangels Michael and Gabriel sf |
Related Artists:
Norman Garstin
(28 August 1847 ?C 22 June 1926) was an Irish artist associated with the Newlyn School of painters. He was born in Caherconlish, Co. Limerick, Ireland, and was involved in various professions such as journalism and gold mining in South Africa. In 1885 he befriended members of the Newlyn School and settled there a year later, moving to nearby Penzance in 1890. The Rain it Raineth Every Day 1889His work consisted primarily of small oil panels in the plein air style, something he had picked up from the French Impressionists such as Edouard Manet and Edgar Degas.
Giovanni Battista Piazzetta
(also called Giambattista Piazzetta or Giambattista Valentino Piazzetta) (February 13, 1682 or 1683 ?C April 28, 1754) was an Italian rococo painter of religious subjects and genre scenes. Piazzetta was born in Venice, the son of a sculptor Giacomo Piazzetta, from whom he had early training in wood carving. Starting in 1697 he studied with the painter Antonio Molinari. By Piazzetta's account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703-05, although there is no record by Crespi of formal tutelage. Piazzetta did find inspiration in Crespi's art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm. He was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino. Around 1710, he returned to Venice. There he won recognition as a leading artist despite his limited output and his unassuming nature, but he ultimately was less patronized, both in Venice and especially abroad, than two other eminent stars in Venetian late-Baroque/Rococo, Ricci and Tiepolo. These two painters had a luminous palette and facile ease that allowed them to carpet meters of ceiling with frescoes, although with a superficiality and glamor that is absent from Piazzetta's darker and more intimate depictions. Nonetheless,Tiepolo, who collaborated with Piazzetta on some projects, was greatly influenced by the older artist; in turn, the luminosity and brilliance of Tiepolo's palette would influence Piazzetta in his later years. Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer(1740, now in Gallerie dell'Accademia, Venice). He brought similar elusiveness to works of a religious nature, such as the Sotto in su Glory of St. Dominic in the Church of Santi Giovanni e Paolo. Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. He also produced engravings. In 1750 Piazzetta became the first director of the newly founded Scuola di Nudo, and he devoted himself in the last few years of his life to teaching. He was elected a member of the Bolognese Accademia Clementina in 1727. Among the painters in his studio were Domenico Maggiotto, Francesco Dagiu (il Capella), John Henry Tischbien the Elder, Egidio Dall'Oglio, and Antonio Marinetti.[1] Among younger painters who emulated his style are Giulia Lama, Federico Bencovich, and Francesco Polazzo (1683?C1753). He died in Venice in 1754.
Neroccio di Bartolomeo
1447 - 1500 was an Italian painter and sculptor of the early-Renaissance or Quattrocento period in Siena. He was a student of Vecchietta, and then he shared a workshop with Francesco di Giorgio from 1468. He painted Scenes from the life of St Benedict, now in the Uffizi, probably in collaboration with di Giorgio, and a Madonna and Child between Saint Jerome and Saint Bernard, which is in the Pinacoteca of Siena. In 1472 he painted an Assumption for the abbey of Monte Oliveto Maggiore, and in 1475 he created a statue of Saint Catherine of Siena for the Sienese church dedicated to her. He separated from di Giorgio in 1475. In 1483, he designed the Hellespontine Sybil for the mosaic pavement of the Cathedral of Siena,