Italian Painter, ca.1490-1547 was an Italian painter of the high-Renaissance, active in Venice and the Venetian mainland, including Bergamo, thought to be his native city. His father, also Giovanni Busi, was born in Fuipiano Valle Imagna and was appointed a local magistrate for the Venetian authorities. His son, probably born in Bergamo, is known to have lived in Venice starting in 1509, and may have trained with either Giovanni Bellini or Giorgione, and almost certainly was influenced by them. Though he worked often in Bergamo, he died in Venice in 1547. He was strongly influenced by Palma il Vecchio, but had a provincial love of scenery as seen in his Sacra conversazione with a youthful donor. While working in Bergamo (1517-1523),   Related Paintings of CARIANI :. | St Sebastian between St Roch and St Margaret kkj | Reclining Woman in a Landscape fd | The old of Artimino | Portrait de deux jeunes gentilhommes venitiens | Countryside concert |
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Frederick Remington
1861-1909 Frederic Sackrider Remington (October 4, 1861 - December 26, 1909) was an American painter, illustrator, sculptor, and writer who specialized in depictions of the Old American West, specifically concentrating on the last quarter of the 19th century American West and images of cowboys, American Indians, and the U.S. Cavalry. Remington was the most successful Western illustrator in the ??Golden Age?? of illustration at the end of the 19th Century and the beginning of the 20th Century, so much so that the other Western artists such as Charles Russell and Charles Schreyvogel were known during Remington??s life as members of the ??School of Remington??. His style was naturalistic, sometimes impressionistic, and usually veered away from the ethnographic realism of earlier Western artists such as George Catlin. His focus was firmly on the people and animals of the West, with landscape usually of secondary importance, unlike the members and descendants of the Hudson River School, such as Frederic Edwin Church, Albert Bierstadt, and Thomas Moran, who glorified the vastness of the West and the dominance of nature over man. He took artistic liberties in his depictions of human action, and for the sake of his readers?? and publishers?? interest. Though always confident in his subject matter, Remington was less sure about his colors, and critics often harped on his palette, but his lack of confidence drove him to experiment and produce a great variety of effects, some very true to nature and some imagined. His collaboration with Owen Wister on The Evolution of the Cowpuncher, published by Harper??s Monthly in September 1893, was the first statement of the mythical cowboy in American literature, spawning the entire genre of Western fiction, films, and theater that followed. Remington provided the concept of the project, its factual content, and its illustrations and Wister supplied the stories, sometimes altering Remington??s ideas. (Remington??s prototype cowboys were Mexican rancheros but Wister made the American cowboys descendants of Saxons??in truth, they were both partially right, as the first American cowboys were both the ranchers who tended the cattle and horses of the American Revolutionary army on Long Island and the Mexicans who ranched in the Arizona and California territories).
Petrich, Soma Orlai
Hungarian, 1822-1880 was a Hungarian painter. Petrich was born to a Serbian father and Hungarian mother. He originally wanted to become a writer. He was a pupil of Jakab Marastoni in 1846 and attended F. Waldmuller's school in Vienna from 1847. He often painted historical themese and in his lithographs he portrayed experiences during the war of independence. He studied at Kaulbach in Munich from 1850. He painted "The Corpse of Louis II" in 1851,
Diego Quispe Tito
(1611-1681) was a Peruvian painter. He is considered the leader of the Cuzco School of painting. The son of a noble Inca family, Quispe Tito was born in Cuzco, and worked throughout his life in the district of San Sebastien; his house is still extant, and shows his coat of arms on its door. His earliest signed painting is an Immaculate Conception from 1627, gilded in a fashion typical of the Cuzco school. The work's elongated forms reveal a knowledge of Mannerism; where Quispe Tito learned the style is unknown, but it is hypothesized that he encountered it in the work of Italian Jesuit Bernardo Bitti, who was active at the time in Cuzco. In addition, he is believed to have known Luis de Riaño in his youth, and may have derived some elements of his style from the older artist; de Riaño, a painter from Lima, had trained in the workshop of Angelino Medoro, and so would have provided another source of Italian influence. Quispe Tito also was influenced in his work by engravings from Flanders; indeed, his best-known work, the 1681 Signs of the Zodiac in Cuzco Cathedral, is a series of copies of Flemish engravings in which each zodiac sign is tied to a parable from the life of Christ. These engravings were designed for distribution in Peru, where worship of the sun, moon, and stars was still practiced in some quarters; they were designed to encourage worship of Christ and His miracles in place of the zodiac. A further series, depicting scenes from the life of John the Baptist and dating to 1663, was also produced on Flemish models.