English Pre-Raphaelite Painter, 1828-1882 Rossetti's first major paintings display some of the realist qualities of the early Pre-Raphaelite movement. His Girlhood of Mary, Virgin and Ecce Ancilla Domini both portray Mary as an emaciated and repressed teenage girl. His incomplete picture Found was his only major modern-life subject. It depicted a prostitute, lifted up from the street by a country-drover who recognises his old sweetheart. However, Rossetti increasingly preferred symbolic and mythological images to realistic ones. This was also true of his later poetry. Many of the ladies he portrayed have the image of idealized Botticelli's Venus, who was supposed to portray Simonetta Vespucci. Although he won support from the John Ruskin, criticism of his clubs caused him to withdraw from public exhibitions and turn to waterhum, which could be sold privately. In 1861, Rossetti published The Early Italian Poets, a set of English translations of Italian poetry including Dante Alighieri's La Vita Nuova. These, and Sir Thomas Malory's Morte d'Arthur, inspired his art in the 1850s. His visions of Arthurian romance and medieval design also inspired his new friends of this time, William Morris and Edward Burne-Jones. Rossetti also typically wrote sonnets for his pictures, such as "Astarte Syraica". As a designer, he worked with William Morris to produce images for stained glass and other decorative devices. Both these developments were precipitated by events in his private life, in particular by the death of his wife Elizabeth Siddal. She had taken an overdose of laudanum shortly after giving birth to a stillborn child. Rossetti became increasingly depressed, and buried the bulk of his unpublished poems in his wife's grave at Highgate Cemetery, though he would later have them exhumed. He idealised her image as Dante's Beatrice in a number of paintings, such as Beata Beatrix. These paintings were to be a major influence on the development of the European Symbolist movement. In these works, Rossetti's depiction of women became almost obsessively stylised. He tended to portray his new lover Fanny Cornforth as the epitome of physical eroticism, whilst another of his mistresses Jane Burden, the wife of his business partner William Morris, was glamorised as an ethereal goddess.  Related Paintings of Dante Gabriel Rossetti :. | Venus Verticordia | The Meeting of Dante and Beatrice in Paradise | The Seed of David | The Day Dream (mk28) | Self-Portrait (mk28) |
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Henry Scott Tuke
British Painter and photographer , 1858-1929 English painter. He entered the Slade School of Art, London, in 1875, under Alphonse Legros and Sir Edward Poynter. In 1877 he won a Slade scholarship and in 1880 travelled to Italy, where he made his first nude life drawings, an important revelation to him of light, colour and the human form. From 1881 to 1883 he was in Paris and met Jules Bastien-Lepage, who encouraged his studies en plein air.
Hans Bol
(1534 - 1593), Flemish artist, received his early training from his two uncles who were also painters. He then was the apprentice to a Mechelen watercolorist and tempera painter at the age of fourteen. Because Boles watercolors became so widely reproduced, he began creating miniatures on parchment. The technique earned him many international clients and a good income. In addition, Bol also produced several oil paintings, illuminated manuscripts, drawings, and engravings. He preferred to create landscapes, mythological, allegorical and biblical scenes, and genre paintings. Bol was a mannerist, which followed the High Renaissance. One of his most famous works of art is Landscape with the Fall of Icarus, made with watercolours on paper. It was inspired by Ovid's Metamorphoses, in which the ancient myth of Icarus is told. The painting is a marvelous example of the art of landscape. Subtle colour transitions, skilful perspective and effective contrasts between foreground and background, and human figures and the forces of nature, lend this miniature painting a cosmic dimension. Bol chose the Icarus theme on several occasions. It was also subject of one of his paintings, which described in detail and highly praised by Karel van Mander in the 17th century. Although Bol was once an important and admired painter, we only know him through his small drawings and watercolours. Most of his paintings appear to have been lost. This miniature is all the more important, because it probably produces the painting referret to by Van Mander, which may have been his masterpiece. Consequently, Bol ought to be viewed not only as a superior miniature painter, but above all as an important artist who played a key role in the development of landscape art.
George Adolphus Storey
(1834-1919), Painter was an English portrait painter, genre painter and illustrator. Storey was born in London, but educated in Paris. When he returned to London, he worked briefly for an architect before studying under J. M. Leigh and J.L. Dulong. Though not a pupil he was also encouraged by William Behnes the sculptor, whose studio he visited. He exhibited at the Royal Academy from 1852 and studied at the Royal Academy schools from 1854. He was strongly incluenced by the Pre-Raphaelites but gave them up under influence of Charles Robert Leslie. Storey worked in North London, establishing a reputation as a genre and portrait painter, and also as an illustrator. He drew elegant pictures of middle class people for love stories and the like. Storey became ARA in 1875 and was a member of the Arts Club from 1874-95. He exhibited at the British Institution, the Royal Society of British Artists in Suffolk Street and the New Watercolour Society. He also published his autobiography in 1899, containing valuable information about the St John's Wood Clique, of which he was a member until he moved to Hampstead. From 1900, he was also the Professor of Perspective at the Royal Academy, and became RA in 1914.