Swedish 1860-1920 Swedish painter, etcher and sculptor. He was brought up by his grandparents at Mora. As he displayed a precocious talent for drawing he was admitted to the preparatory class of the Kungliga Akademi for de Fria Konsterna, Stockholm, at the age of 15. Dissatisfied with the outdated teaching and discipline of the Academy and encouraged by his early success as a painter of watercolour portraits and genre scenes (e.g. Old Woman from Mora, 1879; Mora, Zornmus.) Zorn left the Academy in 1881 to try to establish an international career. He later resided mainly in London but also travelled extensively in Italy, France, Spain, Algeria and the Balkans and visited Constantinople. However, he continued to spend most of his summers in Sweden.  Related Paintings of Anders Zorn :. | i eidhuset | mormor | Rosita Mauri, study | Unknow work 123 | Unknow work 46 |
Related Artists:
Pars, William
English, 1742-82 English painter. He first established himself in London as a portrait painter, exhibiting at the Society of Artists in 1760 and at the Free Society of Artists from 1761. In 1764 he won the third premium of the Royal Society of Arts for his history painting depicting Caractacus before the Emperor Claudius (untraced). In the same year he was selected by the Dilettanti Society to accompany Richard Chandler and Nicholas Revett on an archaeological expedition to Asia Minor and Greece (1764-6). His views of Classical monuments in Asia Minor were engraved and published in Ionian Antiquities (1769), while those he made in Greece, which included pioneering drawings of the Parthenon sculptures, were used in the second volume of James Stuart's Antiquities of Athens (1777).
Gustavo Simoni
Italian, 1846-1926
Pagani, Gregorio
Italian, 1558-1605 Italian painter. He trained in the studio of the Late Mannerist Maso da San Friano, but then studied with the more progressive Santi di Tito. There he became friends with Ludovico Cigoli: the two artists, who desired to renew the art of painting, studied from nature and developed an interest in Venetian and Emilian art. Pagani was deeply influenced by Correggio. His earliest surviving works include the frescoes of the Confirmation of the Rule of St Dominic (c. 1580; Florence, S Maria Novella, Chiostro Grande) and the Meeting between SS Dominic and Francis (Florence, Convento dei Cappuccini di Monturghi). In 1592 he painted the Virgin and Saints (St Petersburg, Hermitage), a work that already reveals his interest in Correggio. In the same year he painted a Finding of the True Cross (untraced), a daring composition that is preserved in preparatory drawings. A number of works from the 1590s survive and show Pagani's interest in Emilian art; the Crucifixion and Saints (1595; Florence, S Bartolomeo in Pozzo) and the Virgin and Child with SS Michael the Archangel and Benedict (1595; Florence, S Michele Arcangelo Le Ville). At the turn of the century Pagani was increasingly associated with those Florentine artists who wished to develop a new narrative clarity and directness. His pictures (e.g. Pyramus and Thisbe; Florence, Uffizi) show figures carefully posed with varied expressions and gestures. In the early 17th century Pagani became yet more attracted by naturalism, as in the St Lawrence (1600) in the basilica of the Madonna delle Grazie at San Giovanni, Valdarno. Through his friendship with Bartolomeo Carducho he was influenced by Spanish art, as is evident in the Adoration of the Magi