Related Paintings of unknow artist :. | Hedins expedition wonder a beach langt in in Takla Makanoknen in April 1894 | Fowling in the Marshes,from the Tomb of Nebamun | Arab or Arabic people and life. Orientalism oil paintings 142 | Sunset of the Breton Coast | Summery landscape |
Related Artists:
Israel Silvestre
French Baroque Era Engraver, 1621-1691,called the Younger to distinguish him from his father, was a prolific French draftsman, etcher and print dealer who specialized in topographical views and perspectives of famous buildings. Orphaned at an early age, he was taken in by his uncle in Paris, Israel Henriet, an etcher and printseller, and friend of Callot. Between 1630 and 1650 Silvestre travelled widely in France and Italy, which he visited three times, and later worked up his sketches as etchings, which were sold singly and in series. His work, especially of Venetian subjects published in the 1660s, influenced eighteenth-century painters of vedute such as Luca Carlevaris and Canaletto, who adapted his compositions. In 1661 he inherited the stock of plates of his uncle, the printseller Israel Henriet, among which was a large part of the works of Jacques Callot, and many of those of Stefano della Bella. In 1662 he was appointed dessinateur et graveur du Roi and in 1673 he was appointed drawing-master to Louis, le Grand Dauphin. From 1668 he was granted workshop space in the galleries of the Louvre, where the practice of housing eminent artists and craftsmen was a tradition that was originated under Henri IV. Silvestre's atelier was large: he had at least two pupils who had careers as engravers, Franqois Noblesse and Meunier, and In 1670 Charles Le Brun recommended him for membership in the Acadeemie royale de peinture et de sculpture. In 1675 his son, the artist Louis Silvestre, was born at Sceaux.
BASTIANI, Lazzaro
Italian painter, Venetian school (b. 1449, Venezia, d. 1512, Venezia) Italian painter. He is first recorded in 1449, as a painter in Venice and in 1460 he was paid for an altarpiece in S Samuele there. Although no extant work is securely documented, several are signed and two are dated. The influence of Andrea del Castagno is clear in his early works, of the 1460s: the signed mosaic of St Sergius (Venice, S Marco), the Archangel Gabriel (Padua, Mus. Civ.) and the signed Piet? (Venice, S Antonino). Also assigned to this period are the Adoration of the Magi (New York, Frick), the polyptych of St Francis (Matera, S Francesco), the St Jerome.
James Baker Pyne
English Painter, 1800-1870 He was articled to a Bristol attorney, but around 1821 he took up painting and exhibited at the Bristol Gallery of Arts in 1824. Apparently self-taught, he worked closely with the Bristol artist Samuel Jackson (1794-1869) for a time and was influenced by the poetic landscapes of Francis Danby. In 1835 he moved to London and exhibited at the Royal Academy the following year. He showed seven pictures there altogether, but he also exhibited at the British Institution and showed 206 works at the Society of British Artists. Although technically accomplished, Pyne's work is curiously lacking in distinction. He imitated many artists but never found a style of his own. His early views of Bristol are among his best work, a good example being View of the Avon from Durdham Down (1829; Bristol, Mus. & A.G.). He also painted some lively coast scenes such as Whitby (Leicester, Mus. & A.G.). He was less successful when emulating J. M. W. Turner.