German 1805-1873 Franz Xaver Winterhalter Galleries German painter and lithographer. He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Scheler (1785-1852) in Freiburg im Breisgau and went to Munich in 1823, sponsored by the industrialist Baron Eichtal. In 1825 he began a course of study at the Akademie and was granted a stipend by Ludwig I, Grand Duke of Baden. The theoretical approach to art of the Akademie under the direction of Peter Cornelius was unfamiliar to him, as in Freiburg he had been required to paint in a popular style. He found the stimulus for his future development in the studio of Joseph Stieler, a portrait painter who was much in demand and who derived inspiration from French painting. Winterhalter became his collaborator in 1825. From Stieler he learnt to make the heads of figures emerge from shadow and to use light in the modelling of faces. He moved to Karlsruhe in 1830 with his brother Hermann Winterhalter (1808-92), who had also trained with Scheler and had followed him to Munich.  Related Paintings of Franz Xaver Winterhalter :. | Portrait of Sophia Alexandrovna Radziwill | Florinda | The Empress Maria Alexandrovna of Russia | Edouard Andre | Portrait of Empress Maria Alexandrovna |
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BEER, Jan de
Netherlandish Painter, ca.1475-1528 South Netherlandish painter and draughtsman. He is first mentioned in 1490 in the register of the Antwerp Guild of St Luke, apprenticed to the painter Gillis van Everen ( fl 1477-1513). In 1504 de Beer became a master. He subsequently served as alderman of the guild in 1509 and dean in 1515, although he found himself temperamentally unsuited to the position of dean, as is known from a lawsuit he filed in 1519 regarding guild administration. This document also reveals that de Beer participated in the preparations for Charles V's 'Joyous Entry' into Antwerp in 1515 and for the Antwerp Society of Rhetoricians' entry that year in the Malines landjuweel (regional competition of the rhetoricians). In 1510 and 1513 de Beer enrolled apprentices; his son Aert de Beer (c. 1509-before 6 Aug 1540) became an Antwerp master in 1529. The artist is undocumented between 1519 and 1528, by which date he was dead. In 1567 Guicciardini included de Beer in his list of famous Netherlandish painters.
GRANACCI, Francesco
Italian High Renaissance Painter, ca.1469-1543 was an Italian painter of the Renaissance. Born at Villamagna di Volterra, he trained in Florence in the studio of Domenico Ghirlandaio, and was employed painting frescoes for San Marco on commission of Lorenzo de'Medici. He is featured in Giorgio Vasari's Vite. His early works, such as the Enthroned Madonna between Saint Michael and John the Baptist (Staatliche Museen, Berlin), Adoration of the Child (Honolulu Academy of Arts) and four histories of Saint John the Baptist, were influenced by the style of Filippino Lippi. In 1508, Granacci went to Rome, where he and other artists helped his lifelong friend Michelangelo to transfer cartoons to the Sistine chapel ceiling. Returning to Florence, Granacci painted a Madonna with Child with Saints Francesco and Jerome for the Augustinian convent of San Gallo (now in the Gallery of the Academy), a Madonna della Cintola for the Company of San Benedetto Bigi, and in 1515 he participated in creating the decorations to celebrate the visit to Florence of Pope Leo X. In 1519, he painted a Madonna with Child and Saint John. Works of the years 1520-1525 betray a direct influence of Fra Bartolomeo, including a Madonna in throne between Saints Sebastiano and Francesco for Castelfiorentino and a Sacred Conversation for Montemurlo. An altarpiece of the Assumption is influenced by Pietro Perugino.
John Michael Wright
English Baroque Era Painter, ca.1617-1694,was a British baroque portrait painter. Wright trained in Edinburgh under the Scots painter George Jamesone, and acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. There he was admitted to the Accademia di San Luca, and was associated with some of the leading artists of his generation. He was engaged by Archduke Leopold Wilhelm of Austria, the governor of the Spanish Netherlands, to acquire artworks in Oliver Cromwell's England in 1655. He took up permanent residence in England from 1656, and served as court painter before and after the English Restoration. A convert to Roman Catholicism, he was a favourite of the restored Stuart court, a client of both Charles II and James II, and was a witness to many of the political manoeuvrings of the era. In the final years of the Stuart monarchy he returned to Rome as part of an embassy to Pope Innocent XI. Wright is currently rated as one of the leading indigenous British painters of his generation and largely for the distinctive realism in his portraiture. Perhaps due to the unusually cosmopolitan nature of his experience, he was favoured by patrons at the highest level of society in an age in which foreign artists were usually preferred. Wright's paintings of royalty and aristocracy are included amongst the collections of many leading galleries today.