Related Paintings of unknow artist :. | At the back upptackte Murchisonfallen | slottet mayerling | Holy Fmaily | Portrait of Franz Liszt | Portrait of Elisabeth of France |
Related Artists:
Pedro Americo
de Figueiredo e Melo (Areia, Brazil, 29 April 1843 - Florence, Italy, 7 October 1905) was one of the most important academic painters of Brazil. He was also a writer and a teacher. He moved to Rio de Janeiro in 1854, where he was granted a scholarship to study in the Academia Imperial de Belas Artes (Imperial Academy of Fine Arts). Later he furthered his studies in Europe, at the École des Beaux-Arts in Paris, being a pupil of Jean-Auguste-Dominique Ingres, Hippolyte Flandrin and Carle-Horace Vernet, winning much praise for his paintings, and achieving the Doctorate in Sciences at the University of Brussels, in 1868. Returning to Brazil, he produced a great series of masterpieces, including one of the most well known works of art in Brazil: Independence or Death!, depicting the moment when Prince Peter declared the country independent from Portugal, a work that has illustrated History books for elementary schools in Brazil for decades. Living mostly in Florence, Italy but traveling extensively back and forth from Rio de Janeiro, Pedro Am??rico managed to work also as a lecturer and an art historian. He married Carlota de Ara??jo Porto-alegre (1844?C1918), daughter of painter and diplomat Manuel de Ara??jo Porto-alegre, and they had children. Knighted by the German Crown he was also Great Knight of the Order of the Holy Sepulchre. With the proclamation of the Republic in Brazil in 1889, he was elected a deputy of the National Assembly.
J B Armand Guillaumin
1841-1927 Born Jean-Baptiste Armand Guillaumin in Paris, France, he worked at his uncle's lingerie shop while attending evening drawing lessons. He also worked for a French government railway before studying at the Academie Suisse in 1861. There, he met Paul C??zanne and Camille Pissarro with whom maintained lifelong friendships. While he never achieved the stature of these two, his influence on their work was significant. C??zanne attempted his first etching based on Guillaumin paintings of barges on the River Seine. Guillaumin exhibited at the Salon des Refus??s in 1863 and later became a friend of Vincent van Gogh whose brother, Theo sold some of his works. Noted for his intense colors, major museums around the world display Guillaumin's art. He is best remembered for his landscapes of Paris, the Creuse departement, and the area around Les Adrets-de-l'Esterel near the Mediterraneran coast in the Provence-Alpes-Cote d'Azur region of France. Armand Guillaumin died in 1927 in Orly, Val-de-Marne just south of Paris.
Sofonisba Anguisciola
1532?C1625, The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century.