1560-1609 Italian Annibale Carracci Locations Painter, draughtsman and printmaker, brother of (2) Agostino Carracci. Since his lifetime, he has been considered one of the greatest Italian painters of his age. His masterpiece, the ceiling (1597-1601) of the Galleria Farnese, Rome, merges a vibrant naturalism with the formal language of classicism in a grand and monumental style. Annibale was also instrumental in evolving the ideal, classical landscape and is generally credited with the invention of CARICATURE.  Related Paintings of Annibale Carracci :. | Christ Appearing to Saint Peter on the Appian Way | The Holy Women at the Sepulchre | The Flood | The bean eater | The Virgin appears before San Lucas and Holy Catalina |
Related Artists:
GUARDI, Francesco
Italian Rococo Era Painter, 1712-ca.1793 The records of his parish in Venice show that Francesco Guardi was baptized on Oct. 5, 1712. His father, Domenico, who died when Francesco was 4, had a workshop. Francesco and his elder brother, Gian Antonio, worked in a small studio, carrying out such orders as they could get for almost anything the client wanted:mythological pictures, genre, flower pieces, battle scenes, altarpieces, and even, on rare occasions, frescoes. They did not hesitate to copy compositions by other artists, but what they borrowed they always transformed into something more capricious, less stable, more fragmentary in the refraction of light. Francesco did not emerge as an independent personality until 1760, when his brother died. Then, 48 years old, he married, established his own studio, and devoted himself chiefly to painting views of Venice. For the most part he worked in obscurity, ignored by his contemporaries. He was not even admitted to the Venetian Academy until he was 72 years old. Guardi and Canaletto have always been compared to one another because the buildings they chose to paint were often the same. But the way each artist painted them is very different. Canaletto's world is constructed out of line. It provides solid, carefully drawn, three-dimensional objects that exist within logically constructed three-dimensional space. Guardi's world is constructed out of color and light. The objects in it become weightless in the light's shimmer and dissolve in a welter of brushstrokes; the space, like the forms in space, is suggested rather than described. Canaletto belonged essentially to the Renaissance tradition that began with Giotto and, as it grew progressively tighter and more controlled, pointed the way to neoclassicism. Guardi belonged to the new baroque tradition that grew out of the late style of Titian and, as it became progressively looser and freer, pointed the way toward impressionism. Such differences appear even in Guardi's early view paintings, where he was obviously trying to copy Canaletto, such as the Basin of San Marco. The famous buildings are there, but they are far in the background, insubstantial, seeming to float. In front is a fleet of fishing boats, their curving spars seeming to dance across the surface of the canvas. What is important for Guardi is not perspective but the changing clouds and the way the light falls on the lagoon. Guardi became increasingly fascinated by the water that surrounds Venice. In late works, such as the famous Lagoon with Gondola, buildings and people have been stripped away until there is nothing but the suggestion of a thin line of distant wharfs, a few strokes to indicate one man on a gondola, a long unbroken stretch of still water, and a cloudless sky. Guardi also painted the festivals that so delighted visitors to the city, such as the Marriage of Venice to the Sea. This was a symbolic ceremony in which the doge, in the great gilded galley of the head of state, surrounded by a thousand gondolas, appeared before all Venice, in Goethe's image, "raised up like the Host in a monstrance." Of all Guardi's paintings the most evocative are his caprices, the landscapes born out of his imagination though suggested by the ruined buildings on the lonely islands of the Venetian lagoon. A gentle melancholy clings to such scenes.
Edward Caledon Bruce
painted Robert E. Lee in 1865
Franz Marc
1880-1916 German Franz Marc Locations Franz Marc was born in 1880, in the German town of Munich. His father, Wilhelm, was a professional landscape painter, and his mother Sophie was a strict Calvinist. He began study at the Academy of Fine Arts, Munich in 1900. In 1903 and 1907 he spent time in Paris and discovered a strong affinity for the work of Vincent van Gogh. Marc developed an important friendship with the artist August Macke in 1910. In 1911 he formed the Der Blaue Reiter artist circle with Macke, Wassily Kandinsky, and other artists who decided to split off from the Neue K??nstlervereinigung movement. He showed several of his works in the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912. The exhibition was the apex of the German expressionist movement and also showed in Berlin, Köln, Hagen, and Frankfurt. In 1912, Marc also met Robert Delaunay, whose use of color and futurist method was a major influence on Marc's work. Marc became influenced by futurism and cubism, and his art became stark and abstract in nature. His name was on a list of notable artists to be withdrawn from combat in World War I. Before the orders were carried out, he was struck in the head and killed instantly by a shell splinter during the Battle of Verdun (1916).