1712-1793 Italian Francesco Guardi Galleries Francesco Guardi was born in Venice into a family of lesser nobility from Trentino. His father Domenico (born in 1678) and his brothers Niccolo and Gian Antonio were also painters, the latter inheriting the family workshop after the father's death in 1716. They probably all contributed as a team to some of the larger commissions later attributed to Francesco. His sister Maria Cecilia married the pre-eminent Veneto-European painter of his epoch, Giovanni Battista Tiepolo. In 1735, Guardi moved to the workshop of Michele Marieschi, where he remained until 1743. His first certain works is from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his better-known brother, Gian Antonio. The first work signed by Francesco is a Saint Adoring the Eucarist (circa 1739). His works in this period included landscapes as well as figure representations. His early vedutas show influence both from Canaletto and Luca Carlevarijs. On February 15, 1757 he married Maria Mattea Pagani, the daughter of painter Matteo Pagani. In the same year his brother Gian Antonio died and his first son, Vincenzo, was born. His second son, Giacomo, was born in 1764. In 1763 he worked in Murano, in the church of San Pietro Martire, finishing a Miracle of a Dominican Saint clearly influenced by Alessandro Magnasco in its quasi-expressionistic style. Francesco Guardi's most important later works include the Doge's Feasts, a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo. In his later years, Canaletto's influence on his art diminished, as showed by the Piazzetta in the Ca' d'Oro of Venice. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno. Miracle of a Dominicane Saint (1763), Lugano, private collection.In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, of which only two remain, and two others for that of Pope Pius VI. On September 12 of that year he was admitted to the Fine Art Academy of Venice. A stronger attention to colours is present in late works such as the Concerto of 80 Orphans of 1782, now in Munich, in the Façade of Palace with Staircase in the Accademia Carrara of Bergamo. Guardi died at Venice in 1793.  Related Paintings of Francesco Guardi :. | The Giudecca with the Zitelle | Doge on the Bucentoro on Ascension Day | Fire in the San Marcuola | Schiffe im Meeresgewitter | An Architectural Caprice |
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WEYDEN, Rogier van der
Netherlandish Northern Renaissance Painter, ca.1400-1464 major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck. Van Eyck, however, had been a master at objective rendering of detail, whereas Roger in his work portrayed emotions with an assurance that has not been surpassed. His ability to depict piety is reflected in the early masterpiece Descent from the Cross (c.1435; Prado); he depicted with significant restraint the profound grief of the mourners grouped around the tragic figure of Jesus. His composition strongly affected later representations of the theme. Roger became City Painter in Brussels in 1436. He then produced a series of undated altarpieces including the Last Judgment (hospital, Beaune), the Braque Triptych (Louvre), Crucifixion with Donors (Vienna), and Adoration of the Magi (Berlin), which vary in execution from a stress on sumptuous details to a more sculptural rendering of the figures. Roger is believed to have made a pilgrimage to Italy in the holy year 1450. Whether this supposed excursion had any effect on his style is much debated. It has been shown that his Entombment (Uffizi) bears an affinity to the Tuscan treatment of the subject, particularly by Fra Angelico, and that Roger's Virgin and Child with Saints (Frankfurt) has a strong resemblance to the Italian religious art of the day. His style is, however, highly individual. His religious paintings and his portraits are characterized by a straightforward monumentality. The portraits, such as that of a young lady (National Gall. of Art, Washington, D.C.) and of Francesco d'Este (Metropolitan Mus.) exhibit a simple clarity of contour and psychological penetration. Other notable works are his St. Luke Painting the Virgin, of which a version or replica is in the Museum of Fine Arts, Boston, the Crucifixion
Ludwig von Hofmann
German, 1861-1945,was a German painter. His style was impressionist, and he painted many paintings, like his famous painting "Rain", in a mixture of impressionist and classical.He was also blind in one eye.
Christian Ernst Bernhard Morgenstern
(29 September 1805 - 12 Februar 1867) was a German landscape painter. Morgenstern is regarded as one of the pioneers in Germany of early Realism in painting. He gained this reputation in Hamburg 1826-1829 together with his contemporary Adolph Friedrich Vollmer while both were still studying; from 1830 onwards, Morgenstern, together with Friedrich Wasmann, Johan Christian Dahl and Adolph Menzel, introduced Munich to Realist painting. Morgenstern was born in Hamburg as one of six children to a painter of miniatures, Johann Heinrich Morgenstern (1769-1813). After the early death of his father he was placed as an apprentice in the graphic workshop of the brothers Suhr. Cornelius Suhr took the young Morgenstern as his servant on a two-year journey through Germany to publicise the panorama prints which the brothers Suhr produced. 1822 followed another long journey to St. Petersburg, where they stayed for a year and to Moscow. On their return to Hamburg Morgenstern succeeded in leaving Suhr (Vollmer took his place). He became a student of the Hamburg painter Siegfried Bendixen with whom he stayed from 1824 to 1827, then continued his studies at the Royal Danish Academy of Fine Arts in Copenhagen (1827-1828) and undertook study journeys through Sweden and Norway. Bendixen introduced him to the wealthy aristocrat and supporter of the arts, Carl Friedrich von Rumohr, patron to many young Hamburg artists, on whose estate in Holstein he spent several summers. In 1830 Morgenstern went to Munich on Ruhmor's advice. He settled there permanently while undertaking extensive yearly study trips: for the first years through Bavaria, then in the summer of 1836 and in the following summers to the Alsace as guest of a patron of the arts. The winter 1839/40 he returned to Hamburg to stay with his mother. In 1841 he visited Venice and Trieste together with the landscape painter Eduard Schleich and in 1843, and again in 1846 the central Alps. In the summer of 1850 he stayed on Heligoland.