Italian Expressionist Painter and Sculptor, 1884-1920 Amedeo Clemente Modigliani (July 12, 1884 ?C January 24, 1920) was an Italian artist of Jewish heritage, practicing both painting and sculpture, who pursued his career for the most part in France. Modigliani was born in Livorno (historically referred to in English as Leghorn), in northwestern Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and art movements, and by primitive art, Modigliani's œuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis, exacerbated by poverty, overworking, and an excessive use of alcohol and narcotics, at the age of 35.  Related Paintings of Amedeo Modigliani :. | Reclining Nude on a Red Couch (mk39) | L-Enfant gras | Lunia Czie-chowska (mk38) | Chaim Soutine (mk39) | Anna Zborowska |
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Gerard Seghers
(Antwerp, 1591-18 March 1651), also Zegers, was a Flemish Baroque painter and one of the leading Caravaggisti in the Southern Netherlands. He was the son of an innkeeper but not related to the jesuit and painter Daniel Seghers. He was possibly a student of either Abraham Janssens or Hendrick van Balen, and he showed great talent, because in 1608 aged only 17 he is listed as a master in the Guild of St. Luke. It was during his trip to Italy around 1613 that he came under the influence of Caravaggio's followers. Bartolomeo Manfredi, in particular, was influential. Many other Dutch and Flemish painters were working in the style there, such as Gerard Honthorst, which is strongly characterized half-length figures illuminated by strong lighting and dramatic chiaroscuro. One work from this period is his Judith with the Head of Holofernes in the Galleria Nazionale d'Arte Antica, Rome. Caravaggism, both in history and monumental genre paintings, continued to mark Seghers's works when he returned to Antwerp around 1620. The Patient Job, National Gallery, Prague.He married on his return to Antwerp (ca.1621) with Catharina Wouters (d.1656), with whom he had eleven children. His son Jan-Baptist Seghers (1624-1670) also became a painter. After 1630, his palette lightens up considerably and the influence of Peter Paul Rubens is noticeable in paintings like the Adoration of the Magi (1630) in the Church of Our Lady, Bruges.
Johann Moritz Rugendas
Augsburg 1802-1858 Weilheim an der Teck,was a German painter, famous for his works depicting landscapes and ethnographic subjects in several countries in the Americas, in the first half of the 19th century. Rugendas was born to the seventh generation of a family of noted painters and engravers of Augsburg (he was a grandson of Georg Philipp Rugendas, 1666-1742, a celebrated painter of battles), and studied drawing and engraving with his father, Johann Lorenz Rugendas II (1775-1826). From 1815 to 1817 he studied with Albrecht Adam (1786-1862), and later in the Academy de Arts of Munich, with Lorenzo Quaglio II (1793-1869). Inspired by the artistic work of Thomas Ender (1793-1875) and the travel accounts in the tropics by Austrian naturalists Johann Baptist von Spix (1781-1826) and Carl von Martius (1794-1868), Rugendas arrived in Brazil in 1821, where he was soon hired as an illustrator for Baron von Langsdorff's scientific expedition to Minas Gerais and Sao Paulo. Langsdorff was the consul-general of the Russian Empire in Brazil and had a farm in the northern region of Rio de Janeiro, where Rugendas went to live with other members of the expedition. In this capacity, Rugendas visited the Serra da Mantiqueira and the historical towns of Barbacena, Sao Joao del Rei, Mariana, Ouro Preto, Caete, Sabara and Santa Luzia.
BARTOLOMEO VENETO
Italian Painter, ca.1470-1531 Italian painter. He worked in Venice, the Veneto and Lombardy in the early decades of the 16th century. Knowledge of him is based largely on the signatures, dates and inscriptions on his works. His early paintings are small devotional pictures; later he became a fashionable portraitist. His earliest dated painting, a Virgin and Child (1502; Venice, priv. col., see Berenson, i, pl. 537), is signed 'Bartolomeo half-Venetian and half-Cremonese'. The inscription probably refers to his parentage, but it also suggests the eclectic nature of his development. This painting is clearly dependent on similar works by Giovanni Bellini and his workshop, but in a slightly later Virgin and Child (1505; Bergamo, Gal. Accad. Cararra) the sharp modelling of the Virgin's headdress and the insistent linear accents in the landscape indicate Bartolomeo's early divergence from Giovanni's depiction of light and space. An inscription on his Virgin and Child of 1510 (Milan, Ercolani Col.) states that he was a pupil of Gentile Bellini, an assertion supported by the tightness and flatness of his early style. The influence of Giovanni is still apparent in the composition of the Circumcision (1506; Paris, Louvre), although the persistent stress on surface patterns and the linear treatment of drapery and outline is closer to Gentile. Bartolomeo's experience as a painter at the Este court in Ferrara (1505-8) probably encouraged the decorative emphasis of his style. In the half-length Portrait of a Man (c. 1510; Cambridge, Fitzwilliam) the flattened form of the fashionably dressed sitter is picked out against a deep red curtain so that the impression of material richness extends across the entire picture surface.