14 November 1899 - 11 September 1934) was a Swiss painter. Barraud was the eldest of four brothers who all painted or sculpted at various points in their lives. The brothers, François, Aime, Aurele and Charles, were largely self-taught artists having been raised as professional plasterers and house painters.Barraud attended evening classes at the local art school in 1911 together with his brothers.In 1919, he exhibited his paintings in La Chaux-de-Fonds and participated in the National Exhibition of Fine Arts in Basel.Encouraged by the success of the exhibitions he left Switzerland in 1922, and moved to Reims in France where he worked as a house painter for two years. He married Marie, a French woman, in 1924. Marie subsequently featured as a model in several of his paintings. Around 1924 or 1925, Barraud found work in Paris as an artist and craftsman. While living in Paris he studied painting at the Louvre. François Barraud painted mainly still lifes, female nudes and portraits, including several double portraits of himself and his wife, Marie His precise, realist style of painting developed under the influence of the old Flemish and French masters he had studied at the Louvre. Barraud suffered periods of illness throughout his life and died of tuberculosis in Geneva, in 1934, at the age of 34. Arthur Stoll held a major collection of François Barraud's works. His works are also held in the Musee des beaux-arts in La Chaux-de-Fonds, the Coninx Museum in Zurich and the Foundation for Art, Culture and History in Winterthur.   Related Paintings of Francois Barraud :. | Portrait of Count Georg von Lowenstein af | Diana and Actaeon | Christ on the Cross | Portrait of Andries Stilte | The Child's Caress |
Related Artists:
Manuel da Costa Ataide
(1762 to 1830), was a Brazilian painter, sculptor, gilder and teacher. He was an important artist of the baroque school in Minas Gerais and had a major influence on painting in the region, with many students and followers. His method of composition, particularly in perspective works on church ceilings, continued to be used until the middle of the nineteenth century. Contemporary documents often refer to him as a teacher of painting. In 1818 Ataede tried without success to obtain official permission to found an art school in Mariana, his home town. He owned technical manuals and theoretical tracts such as Andrea Pozzo's "Perspectivae Pictorum Architectorum" from which he must have studied technique. His art is characterised by the use of bright colours, especially blue. He was a contemporary and colleague of Antonio Francisco Lisboa (Aleijadinho). In the period 1781 to 1818 he completed and gilded Aleijadinhoes images for the Sanctuary of Bom Jesus de Matosinhos in Congonhas.
BERRUGUETE, Alonso
Spanish Mannerist Painter and Sculptor, ca.1488-1561 Alonso Berruguete was born in Paredes de Navas, Valladolid, the son of Pedro Berruguete, Spain's first major Early Renaissance painter. Pedro was trained in Italy, and it is understandable that he would want his son to have an Italian formation. Alonso was in Florence from about 1504, the year of his father's death, until about 1517. He also spent time in Rome during this period. Berruguete's original purpose was to train as a painter, but he had the opportunity to study sculpture under Michelangelo, whom he is said to have assisted in the execution of some works. Berruguete received minor commissions, such as the completion of paintings and sculptures left unfinished by other artists. On his return to Spain, Berruguete executed an alabaster relief, the Resurrection, for Valencia Cathedral (ca. 1517), which compares favorably with early works by Michelangelo. It is Hellenistic in its anatomical beauty, multiple diagonals, and range of relief projection. The figure of Christ is the climactic center of interest: a vertical, stabilizing force amid a tumult of diagonals described in the agitated movements of the startled Roman soldiers. In 1518 Emperor Charles V named Berruguete court painter. When illness prevented Berruguete from sailing to Germany with Charles V in 1520, the Emperor took it personally and turned a deaf ear to Berruguete's subsequent petitions for commissions. He then returned to his native village until 1523, when Charles V named him a scribe of the criminal section of the Chancery in Valladolid. This gave Berruguete social status, an income, and work he could deputize. Henceforth, he set himself to amass riches and advance socially. He established a studio in Valladolid, hired a number of apprentices, and priced his works above those of all other artists. It was a time of great wealth in Spain; Berruguete had seen sumptuous riches in Italy and was determined to so live that his compatriots would accord him the reverence and acclaim enjoyed by Italian artists. In 1528 Berruguete built himself a palace in Valladolid, opposite the monastery of S. Benito, for which he created his greatest altarpiece. He succeeded so well in his ambitions that in 1542 he sold the Emperor's benefice for 4,000 ducats. Two years before he died, he became a squire when the regent of Portugal, Princess Juana, gave him the village of Ventosa with its 120 inhabitants.
Joseph Caraoud
French 1821-1905