(26 June 1788, Wildenfels, Kursachsen - 4 March 1868, Munich), born Vogel, was a German painter. Son of the child and portrait painter Christian Leberecht Vogel, Vogel was trained early in life by his father. From 1804 he visited the Kunstakademie in Dresden, where he copied many paintings in the Gemäldegalerie and also produced the first of his own portraits. In 1807 he replied to an invitation from Baron von Löwenstern, whose children he had taught in Dresden, to come to Dorpat in Livland. In 1808 he moved to Saint Petersburg, where he set up a studio in the princely and successfully worked producing portraits of nobles and diplomats. In 1812 Vogel was finally rich enough to make a long-desired grand tour to Italy, stopping off at Berlin and Dresden on the way, where he painted his parents and Franz Pettrich. From 1813 to 1820 he lived in Rome, where many German artists were active at that time. He tried to run a middle course between the classicising and romanticising schools then prevailing there, with a style of his own closely drawing on that of Raphael Mengs. In Italy he copied a large number of paintings and wall paintings by the old masters. On later journeys he further augmented his collection of copies and in 1860 published a catalogue of them. Besides religious paintings, landscapes and anatomical studies, Vogel also produced portraits in Rome, of subjects such as Bertel Thorvaldsen, Lucien Bonaparte and - on behalf of the king of Saxony - Pope Pius VII. Vogel much enjoyed Rome, as Ringseis illustrates by this story - in 1818 he received a gift of a bottle of 1634 Rheinwein wine (given by crown prince Louis I of Bavaria in thanks for the decoration of a festal hall) by unanimous resolution of his colleagues   Related Paintings of Carl Christian Vogel von Vogelstein :. | Young Man with a Cap (nn04) | St Francis with an Angel Playing Violin sdg | handel s memorial in westminster abbey | Campo San Rocco bvh | Sentier de la Mi-cote,Louveciennes |
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Cimabue
Italian b1240 - d1302 Cimabue Location Italian painter and mosaicist. His nickname means either bull-head or possibly one who crushes the views of others (It. cimare: top, shear, blunt), an interpretation matching the tradition in commentaries on Dante that he was not merely proud of his work but contemptuous of criticism. Filippo Villani and Vasari assigned him the name Giovanni, but this has no historical foundation. He may be considered the most dramatic of those artists influenced by contemporary Byzantine painting through which antique qualities were introduced into Italian work in the late 13th century. His interest in Classical Roman drapery techniques and in the spatial and dramatic achievements of such contemporary sculptors as Nicola Pisano, however, distinguishes him from other leading members of this movement. As a result of his influence on such younger artists as Duccio and Giotto, the forceful qualities of his work and its openness to a wide range of sources, Cimabue appears to have had a direct personal influence on the subsequent course of Florentine, Tuscan and possibly Roman painting.
Konstantin Somov
Russian Symbolist Painter, 1869-1939 Russian painter and graphic artist. He was the son of a curator at the Hermitage, and he attended the St Petersburg Academy of Art from 1888 to 1897, studying under the Realist painter Il'ya Repin from 1894. In 1897 and again in 1898-9 he went to Paris and attended the studios of Filippo Colarossi and of Whistler. Neither the Realism of his Russian teachers nor the evanescent quality of Whistler's art was reflected for long in Somov's work. He turned instead for inspiration to the Old Masters in the Hermitage and to works of contemporary English and German artists
Joachim von Sandrart
(12 May 1606 - 14 October 1688) was a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age. Sandrart was born in Frankfurt, but the family originated from Mons. According to Houbraken (who used his Teutsche Akademie as a primary source), he learned to read and write from the son of Theodor de Bry, Johann Theodoor de Brie and his associate Matthäus Merian, but at age 15 was so eager to learn more of the art of engraving, that he walked from Frankfurt to Prague to become a pupil of Gillis Sadelaar (also known as Aegidius Sadeler of the Sadeler family). Sadelaar in turn urged him to paint, whereupon he travelled to Utrecht in 1625 to become a pupil of Gerrit van Honthorst, and through him he met Rubens when he brought a visit to Honthorst in 1627, to recruit him for collaboration on part of his Marie de' Medici cycle. Honthorst took Sandrart along with him when he travelled to London. There he worked with Honthorst and spent time making copies of Holbein portraits for the portrait gallery of Henry Howard, 22nd Earl of Arundel. Making all of those copies only served to arouse more curiosity in the young adventurer, and in 1627 Sandrart booked a passage on a ship from London to Venice, where he was welcomed by Jan Lis (whose Bentvueghels bent name was "Pan"), and Nicolaas Ringnerus. He then set out for Bologna, where he was met by his cousin on his father's side Michael le Blond, a celebrated engraver. With him, he crossed the mountains to Florence, and from there on to Rome, where they met Pieter van Laer (whose bent name was "Bamboccio"). Sandrart became famous as a portrait-painter. After a few years he undertook a tour of Italy, traveling to Naples, where he drew studies of Mount Vesuvius, believed to be the entrance to the Elysian fields described by Virgil. From there he traveled to Malta and beyond, searching for literary sights to see and paint, and wherever he went he paid his way by selling portraits. Only when he was done traveling did he finally return to Frankfurt, where he married Johanna de Milkau. Afraid of political unrest and plague, he moved to Amsterdam with his wife in 1637.