1255-1318 Italian Duccio di Buoninsegna Locations Italian painter. He was one of the most important painters of the 14th century and like his slightly younger contemporary, Giotto, was a major influence on the course of Italian painting. An innovator, he introduced into Sienese painting new altarpiece designs, a dramatic use of landscape, expressive emotional relationships, extremely complex spatial structures and a subtle interplay of colour. His most important and revolutionary work, the Maeste for Siena Cathedral, was never matched during the 14th century, if at all, and his influence lasted well into the 15th century.  Related Paintings of Duccio di Buoninsegna :. | Peter-s First Denial of Christ Before the High Priest Annas | The Virgin Mary and angel predictor,Saint | Madonna and Child with Six Angels dfg | Adoration of the Magi | Temptation on the Mount |
Related Artists:
George Horlor
British 1849-1891
Henri Lehmann
German Neoclassical Painter, 1814-1882,was a French historical and portrait painter, born in Kiel, Schleswig. He was a pupil of his father, Leo Lehmann, and of Ingres in Paris, where he opened a studio in 1847, after having become naturalized. His brother Rudolf Lehmann was a well-known portrait artist.
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.