Sandro Botticelli
Sandro Botticelli's Oil Paintings
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c. 1445 – May 17, 1510. Italian painter.

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BRAMANTINO
Madonna del Latte

ID: 83561

BRAMANTINO Madonna del Latte
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BRAMANTINO Madonna del Latte


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BRAMANTINO

Italian High Renaissance Painter, ca.1460-1530 Leonaert/Leonard Bramer alias Nestelghat (Dec 24, 1596, Delft - buried Feb 10, 1674, Delft) was a Dutch painter, best known for probably being one of the teachers of Johannes Vermeer, although there is no similarity between their work. Bramer's dark and exotic style is unlike Vermeer's style. Bramer was primarily a genre and history painter, but also made some unique frescos, not very often found north of the Alps. Leonaert Bramer is one of the most intriguing personalities in seventeenth-century Dutch art. He was a talented and diligent draughtsman, evidently Catholic and a life long bachelor.  Related Paintings of BRAMANTINO :. | Crucifixion 210 | Holy Family | Holy Family inwp | The Adoration of the Kings | The Adoration of the Magi |
Related Artists:
anders trulson
1874-1911 Anders Trulson, född 14 juli 1874 i Tosterup, död 23 augusti 1911 i Italien, var en svensk konstnär. Anders Trulson föddes i Tosterup, där fadern var kusk på ett gods. Han fick sin utbildning i Köpenhamn och Stockholm, och blev enligt flera en dansksvensk blandning. Han bodde flera år i Lund innan hans utlandsresor började 1905, bland annat till Paris och Bregge. Trulson dog 1911 bara 37 år gammal på resa i Italien. 1902 var han med och grundade Skånska konstnärslaget som tillsammans med Konstföreningen för södra Sverige var centrum för det skånska konstlivet. Skånes konststil och liv var till stor del utanför övriga Sveriges, inte minst landskapsmåleriet vilket var präglat av ett eget färgspel.
Charles de Lafosse
French Baroque Era Painter , Paris 1636/40 -1716 French painter and draughtsman. He was the most important decorative painter in France in the generation after Charles Le Brun and in this capacity contributed to many of the major official and private building projects from the 1670s to the 1710s, including the D?me des Invalides in Paris and the chapel at the ch?teau of Versailles. His colourist's temperament, his early study of the Venetian painters of the 16th century and his interest in the work of Peter Paul Rubens contributed to the triumph of the party that championed colour over line and put him in the vanguard of the new tendency in French painting in the later 17th century. His work, with its rich and changing colours, combines the strength of the 17th century with the lightness and grace of the 18th
Adolphe Bouguereau
French 1825-1905 French painter. From 1838 to 1841 he took drawing lessons from Louis Sage, a pupil of Ingres, while attending the coll?ge at Pons. In 1841 the family moved to Bordeaux where in 1842 his father allowed him to attend the Ecole Municipale de Dessin et de Peinture part-time, under Jean-Paul Alaux. In 1844 he won the first prize for figure painting, which confirmed his desire to become a painter. As there were insufficient family funds to send him straight to Paris he painted portraits of the local gentry from 1845 to 1846 to earn money. In 1846 he enrolled at the Ecole des Beaux-Arts, Paris, in the studio of Fran?ois-Edouard Picot. This was the beginning of the standard academic training of which he became so ardent a defender later in life. Such early works as Equality (1848; priv. col., see 1984-5 exh. cat., p. 141) reveal the technical proficiency he had attained even while still training. In 1850 he was awarded one of the two Premier Grand Prix de Rome for Zenobia Discovered by Shepherds on the Bank of the River Araxes (1850; Paris, Ecole N. Sup. B.-A.). In December 1850 he left for Rome where he remained at the Villa Medici until 1854, working under Victor Schnetz and Jean Alaux (1786-1864). During this period he made an extensive study of Giotto's work at Assisi and Padua and was also impressed by the works of other Renaissance masters and by Classical art. On his return to France he exhibited the Triumph of the Martyr (1853; Lun?ville, Mus. Lun?ville; see fig. 1) at the Salon of 1854. It depicted St Cecilia's body being carried to the catacombs, and its high finish, restrained colour and classical poses were to be constant features of his painting thereafter. All his works were executed in several stages involving an initial oil sketch followed by numerous pencil drawings taken from life.






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