Related Paintings of unknow artist :. | Portrait of Anne, | Two left hand gloves | Giovane madre col figlio | nelsons mor tar ett gripande farval av sonen innan han gar till sjoss enligt konstnaren | Still life with oranges |
Related Artists:
WITZ, Konrad
b. cca 1400, Rottweil, d. ca. 1445, Basel. German-born painter from Rottweil in Swabia, active in Switzerland. German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art,
CAROSELLI, Angelo
Italian painter, Roman school (b. 1585, Roma, d. 1652, Roma) Italian painter. He was the son of a dealer in second-hand goods and taught himself to paint. According to Baldinucci, he knew Caravaggio, who fled Rome in 1606, and this association may have encouraged his decision to become a painter. After visits to Florence (1605) and Naples (1613), Caroselli settled in Rome, where, in 1615, he married a Sicilian, Maria Zurca. His weakness for beautiful women was notorious (Baldinucci; Passeri). His second marriage, to Brigitta Lauri, daughter of the Flemish painter Balthasar Lauwers or Lauri (1578-1645),
Monticelli, Adolphe-Joseph
French, 1824-1886 French painter. In 1846, after studying at the Ecole d'Art in Marseille, Monticelli left Provence to study in Paris with Paul Delaroche. Although he had been trained to work in a Neo-classical style by his teachers in Marseille, in Paris he admired the Troubadour pictures of such artists as Pierre R?voil and Fleury Richard and the bold colours and rich surface impasto of Delacroix's oil sketches. He also copied many of the Old Masters in the Louvre. When he returned to Marseille in 1847 Emile Loubon (1809-63), newly appointed director of the Ecole de Dessin in Marseille and a friend of many realist landscape painters in Paris, encouraged him and another local painter, Paul Guigou