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

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Dimitri Levitzky
Portrait of Prokofi Demidov

ID: 78508

Dimitri Levitzky Portrait of Prokofi Demidov
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Dimitri Levitzky Portrait of Prokofi Demidov


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Dimitri Levitzky

Ukrain portrait painter , 1735-1822  Related Paintings of Dimitri Levitzky :. | Makerovskogo in costumes | Portrait of Alexandr Mihailovich Golytsyn | Portrait of Catherine II | Portrait of Catherine II in the Guise of a Legislator in the Temple of Justice | Portrait of Prokofi Demidov |
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Wyke Bayliss
(October 21, 1835, Madeley, Shropshire - April 5, 1906, London) was a British painter, author and poet. He almost exclusively painted interiors of British and European churches and cathedrals, and was known in the late Victorian era as an academic authority on art. From the start of his career Bayliss' main interest was in depicting architecture, finding "infinite charm" in the "infinite variety of the aspect of a Cathedral interior". His unusual first name was his mother Anne's maiden surname. His brother William Wyke Bayliss became a vicar and sister Elizabeth Anne Bayliss married a vicar, whilst a second sister Mary died as a teenager. Bayliss' wider family consisted of a number of luminaries. His great uncle was Thomas Turner, founder of the Caughley porcelain factory, a major leader in the development of the Willow pattern. Bayliss owned a portrait of Turner by Sir Joshua Reynolds as well as a number of further family portraits by Lemuel Francis Abbott . His second cousin was Sir William Maddock Bayliss. Cologne Cathedral, pen and watercolourHis father, Rev. John Cox Bayliss was a railway engineer who taught military and mathematical drawing, and was also an artist known for his work "Views of Shropshire" published in 1839 . He gave his younger son training after he showed drawing aptitude at an early age. The family moved from Madeley to London following a job offer too good to refuse, giving Bayliss the opportunity to immerse himself in the emerging art scene of the early Victorian period. As a young student at the Royal Academy and the School of Design he became affiliated with the Pre-Raphaelites, and he counted amongst his friends John Millais, Frederic Leighton, William Holman Hunt and Edward Burne-Jones While distant from the Pre-Raphaelites in subject and technique, his paintings often reflect the juxtaposition of detail and colour that characterise much of Millais' and Leighton's work. Frederick Wedmore states in the foreword to Bayliss' autobiography "On reflection it will be seen that Wyke Bayliss had his speciality pretty well to himself. He was the inventor of his own genre - as well as his own method" . Bayliss paintings are held in many smaller UK and European collections, including the Atkinson Art Gallery in Southport (Evening: Amiens Cathedral) and the Welsh national collection.
ANTHONISZ, Aert
Dutch painter (b. 1579/80, Antwerpen, d. 1620, Amsterdam)
Edouard Castres
Swiss 1838 - 1902 Swiss painter. His father was a clock engraver, and he initially trained as an enamellist. He took drawing lessons from Barthelemy Menn and attended the Ecole des Beaux-Arts in Paris from 1859. He soon decided to concentrate on oil painting. He was assistant to the genre and figure painter Eduardo Zamacois y Zabala (1842-71). In the Franco-Prussian War he joined the Red Cross, moving into Switzerland at the beginning of February 1871 with the army led by Gen. Bourbaki. He painted military scenes from sketches carried out on the battlefield and received consistently good reviews, which also brought financial success. He was commissioned by a Belgian panorama company to record the entry of the French army into Switzerland, which he had witnessed in 1871. He spent the winter of 1876-7 on site at Les Verrieres, painting preparatory studies, and in 1881 he completed the panorama, Gen. Bourbaki's Army Retreating into Switzerland (Lucerne, Panorama). He was aided by nine assistants, recruited from among Menn's pupils, who included Ferdinand Hodler. The work was exhibited in Geneva and was brought to a rotunda in Lucerne in 1889. Among panorama paintings it is a work of a high order: despite the colossal dimensions and the barely comprehensible mass of people depicted, the dominant impression is of individual suffering.






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