1581-1641 Italian Domenichino Locations Italian painter and draughtsman. On the basis of his frescoes and altarpieces he became established as the most influential exponent of the 17th-century classical style. Through his critical analysis of the art of Raphael and Annibale Carracci he was influential in the creation of a modern canon of the ancients; and he was perhaps the most complete example of a 17th-century artist struggling to reconcile tradition with the demand for spectacle.  Related Paintings of Domenichino :. | Abraham Leading Isaac to Sacrifice | Detail of The Repose of Venus | Cumaean Sibyl | Guardian angel | Madonna and Child with St Petronius and St John the Baptist dg |
Related Artists:
Susanne Henry
in 18th centery.
Giovanni Paolo Pannini
1691-1765 Italian Giovanni Paolo Pannini Galleries Italian painter. After gaining fame for his fresco painting, he specialized in Roman topography and became the foremost artist in that field in the 18th century. His real and imaginary views of ancient Roman ruins embody precise observation and tender nostalgia and combine elements of late classical Baroque art with incipient Romanticism. His work was popular both with tourists and his peers: he was admitted to the Acad??mie Française in 1732 and became its professor of perspective.
Clarkson Frederick Stanfield
English Painter, 1793-1867 He is often wrongly referred to as William Clarkson Stanfield. The son of Mary Hoad and James Field Stanfield, an Irish actor and author, he was apprenticed to a heraldic coach painter at the age of 12, but in 1808 he abandoned this and went to sea in a collier. In 1812 he was press-ganged and spent two years on HMS Namur, the guard-ship at Sheerness. After being discharged as the result of an injury in 1814, he joined the merchant navy, sailing to China in the Indiaman Warley in 1815. Soon after his return in 1816 he missed his ship and became a scene painter, first at the Royalty Theatre, Stepney, and then at the Royal Coburg, Lambeth. There he was later joined by David Roberts, who became a lifelong friend, and in 1822 both men were employed as scene painters at the Theatre Royal, Drury Lane. During the next 12 years Stanfield established himself as the most talented scene painter of his day, causing a sensation with some of his huge moving dioramas such as the scenes of Venice in the pantomine Harlequin and Little Thumb (1831). Meanwhile he was building an equally impressive reputation as an easel painter. He first exhibited at the Royal Academy in 1820 and continued to exhibit there regularly until his death. He was elected ARA in 1832 and RA in 1835.