Italian High Renaissance Painter, ca.1450-1525  Related Paintings of CARPACCIO, Vittore :. | The Flight into Egypt fg | Arrival of the English Ambassadors (detail) fg | The Lion of St Mark (detail) sdf | Agony in the Garden dfg | The Lion of St Mark (detail) dsf |
Related Artists:
Luca Carlevaris
1665-1731 Italian Luca Carlevaris Location Luca Carlevarijs or Carlevaris (1663 - 1730) was an Italian painter of landscapes (vedutista). Carlevarijs was born in Udine, but worked mostly in Venice. His veduta of Venice are among the earliest Baroque depictions of the city. He was influenced by the Dutch painter active in Rome, Caspar van Wittel (often called Vanvitelli). The painters Canaletto and Antonio Visentini are said to have been highly influenced by or pupils of his. Johan Richter did work with him.
Ivan Nikolaevich Kramskoi
(June 8 (O.S. May 27), 1837 ?C April 6 (O.S. March 24), 1887; was a Russian painter and art critic. He was an intellectual leader of the Russian democratic art movement in 1860-1880. Kramskoi came from a poor petty-bourgeois family. From 1857 to 1863 he studied at the St. Petersburg Academy of Arts; he reacted against academic art and was an initiator of the "revolt of fourteen" which ended with the expulsion from the Academy of a group of its graduates, who organized the Artel of Artists Influenced by the ideas of the Russian revolutionary democrats, Kramskoi asserted the high public duty of the artist, principles of realism, and the moral substance and nationality of art. He became one of the main founders and ideologists of the Company of Itinerant Art Exhibitions (or Peredvizhniki). In 1863-1868 he taught at the drawing school of a society for the promotion of applied arts. He created a gallery of portraits of important Russian writers, scientists, artists and public figures (Lev Nikolaevich Tolstoy, 1873, Ivan Shishkin, 1873, Pavel Mikhailovich Tretyakov, 1876, Mikhail Saltykov-Shchedrin, 1879, Sergei Botkin, 1880) in which expressive simplicity of composition and clarity of depiction emphasize profound psychological elements of character. Kramskoi's democratic ideals found their brightest expression in his portraits of peasants, which portrayed a wealth of character-details in representatives of the common people. In one of Kramskoi's most well known paintings, Christ in the Desert (1872, Tretyakov gallery), he continued Alexander Ivanov's humanistic tradition by treating a religious subject in moral Cphilosophical terms. He imbued his image of Christ with dramatic experiences in a deeply psychological and vital interpretation, evoking the idea of his heroic self-sacrifice. Aspiring to expand the ideological expressiveness of his images, Kramskoi created art that existed on the cusp of portraiture and genre-painting ("Nekrasov during the period of 'Last songs,'" 1877-C78; "Unknown Woman," 1883; "Inconsolable grief," 1884; all in Tretyakov gallery). These paintings disclose their subjects' complex and sincere emotions, their personalities and fates. The democratic orientation of Kramskoi's art, his acute critical judgments about it, and his persistent quest for objective public criteria for the evaluation of art exerted an essential influence on the development of democratic art and aesthetics in Russia in the last third of the nineteenth century.
Joseph Wright
1734-1797 British Joseph Wright Gallery English painter. He painted portraits, landscapes and subjects from literature, but his most original and enduringly celebrated works are a few which reflect the philosophical and technological preoccupations of the later 18th century and are characterized by striking effects of artificial light. He was the first major English painter to work outside the capital all his life: apart from spells in Liverpool (1768-71), Italy (1773-5) and Bath (1775-7), he lived and worked in his native Derby, though exhibiting in London at both the Society of Artists (1765-76, 1791) and the Royal Academy (1778-82, 1789-90, 1794