Alma Tadema
Alma Tadema's Oil Paintings
Alma Tadema Museum
8 January 1836 – 25 June 1912. Most renowned painters.

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unknow artist
Pontifical after

ID: 65007

unknow artist Pontifical after
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unknow artist Pontifical after


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unknow artist

  Related Paintings of unknow artist :. | Robert Devereux | One of Livingstones mainstay ogonblick in Afrika,var da he in November upptackte Victoria autumn in Zambesifloden | Become pregnant and told Elizabeth to visit | Still life floral, all kinds of reality flowers oil painting 95 | Ormesby Psalter |
Related Artists:
Andrea del Sarto
b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.
BRAY, Salomon de
Dutch Baroque Era Painter, 1597-1664 De Bray established himself in Haarlem before 1617, where he is supposed to have been taught by Hendrick Goltzius and Cornelis van Haarlem, and where he married in 1625. He painted history paintings, portraits and landscapes. As a Catholic he probably also made altar pieces for clandestine churches. He cooperated in the decoration of Huis ten Bosch in The Hague. His works draw on the spirit of the Dutch classicism beginning at that time, and are comparable with those of Pieter de Grebber. De Bray was also active as a designer of silverwork, as a poet, as an architect and as a town planner. As an architect, he was involved in the construction or expansion of Haarlem's City Hall, Zijlpoort, and St. Annakerk (Church of St. Anne), and Nijmegen's city orphanage. One of his poems was set to music by his friend the composer Cornelis Padbru??. Salomon de Bray was the father of ten children, of whom three (including Jan de Bray) became artists. He probably died of the plague, as some of his children and was buried in the Sint-Bavokerk in Haarlem.
Alexei Jawlensky
1864-1941 Russian Alexei Jawlensky Galleries Alexej von Jawlensky was born in Torzhok, a town in the department of Tver, Russia, as the fifth child of Georgi von Jawlensky and his wife Alexandra (n??e Medwedewa). His family was aristocratic. At the age of ten he moved with his family to Moscow. After a few years of military training, he became interested in painting, visiting the Moscow World Exposition c. in 1880. In 1896 he moved to Munich where he studied in the private school of Anton Azbe. In Munich he met Wassily Kandinsky, and Marianne von Werefkin, other Russian artists and helped form the Neue Kunstlervereinigung M??nchen. His work in this period was lush and richly coloured, but later moved towards abstraction with a simplified and formulaic style in a search to find the spiritual. Alexej von Jawlensky. Abstract Head, c. 1928He died in Wiesbaden, Germany on 15 March 1941.






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