Canadian Expressionist Painter, 1871-1945 Canadian painter and writer. She studied art from 1891 to 1894 at the California School of Design in San Francisco. She lived in England from 1899 to 1904, studying at the Westminster School of Art in 1899, and settled in Vancouver on her return. Her stay in Paris in 1910-11, during which she had a painting shown at the Salon d'Automne in 1911, proved far more influential on her art, familiarizing her with Impressionism, with Post-Impressionism and with Fauvism.   Related Paintings of Emily Carr :. | Kwakiutl House | Forsaken | Old Time Coast Village | The Little Pine | Forest |
Related Artists:
COPLEY, John Singleton
American Colonial Era Painter, 1738-1815 American portrait painter, b. Boston. Copley is considered the greatest of the American old masters. He studied with his stepfather, Peter Pelham, and undoubtedly frequented the studios of Smibert and Feke. At 20 he was already a successful portrait painter with a mature style remarkable for its brilliance, clarity, and forthright characterization. In 1766 his Boy with the Squirrel was exhibited in London and won the admiration of Benjamin West, who urged him to come to England. However, he remained in America for eight years longer and worked in New York City and Philadelphia as well as in Boston. In 1774 Copley visited Italy and then settled in London, where he spent the remainder of his life, enjoying many honors and the patronage of a distinguished clientele. In England his style gained in subtlety and polish but lost most of the vigor and individuality of his early work. He continued to paint portraits but enlarged his repertoire to include the enormous historical paintings that constituted the chief basis of his fame abroad. His large historical painting The Death of Lord Chatham (Tate Gall., London) gained him admittance to the Royal Academy. His rendering of a contemporary disaster, Brook Watson and the Shark (Mus. of Fine Arts, Boston), stands as a unique forerunner of romantic horror painting. Today Copley's reputation rests largely upon his early American portraits, which are treasured not only for their splendid pictorial qualities but also as the most powerful graphic record of their time and place. Portraits such as those of Nicholas Boylston and Mrs. Thomas Boylston (Harvard), Daniel Hubbard (Art Inst., Chicago), Governor Mifflin and Mrs. Mifflin (Historical Society of Pennsylvania, Philadelphia), and Paul Revere (Mus. of Fine Arts, Boston) are priceless documents in which the life of a whole society seems mirrored.
Giovanni Antonio Boltraffio
was an Italian painter of the High Renaissance from Lombardy, who worked in the studio of Leonardo da Vinci.[2] Boltraffio and Bernardino Luini are the strongest artistic personalities to emerge from Leonardo's studio. According to Giorgio Vasari, he was of an aristocratic family and was born in Milan. His major painting of the 1490s is the Resurrection (painted with fellow da Vinci pupil Marco d'Oggiono and now in the Gemäldegalerie, Berlin). A Madonna and Child in the Museo Poldi Pezzoli of Milan, is one of the high points of the Lombard Quattrocento. His portraits, often in profile, and his half-length renderings of the Madonna and Child are Leonardesque in conception, though the clean hard edges of his outlines lack Leonardo's sfumato. In Bologna, where he remained in 1500-1502, he found sympathetic patrons in the Casio family, of whom he painted several portraits and for whom he produced his masterwork, the Pala Casio for the Church of the Misericordia (Louvre Museum); it depicts a Madonna and Child with John the Baptist and Saint Sebastian and two Kneeling Donors, Giacomo Marchione de' Pandolfi da Casio and his son, the Bolognese poet Girolamo Casio[3], who mentioned Boltraffio in some of his sonnets. Boltraffio's portrait of Girolamo Casio is at the Pinacoteca di Brera, Milan.
ALBERTINELLI Mariotto
Italian Early Renaissance Painter, 1474-1515 Italian painter. Albertinelli's contribution to the Florentine High Renaissance was inspired by the work of FRA BARTOLOMMEO, and the two artists worked together in a partnership, their paintings appearing to be the product of a single hand. Albertinelli, however, always retained artistic independence, as is revealed in certain paintings that are eccentrically archaic and in others that show a preference for conventions more typical of the early Renaissance.