Greek-born Spanish Mannerist Painter, 1541-1614 Greek painter, designer and engraver, active in Italy and Spain. One of the most original and interesting painters of 16th-century Europe, he transformed the Byzantine style of his early paintings into another, wholly Western manner. He was active in his native Crete, in Venice and Rome, and, during the second half of his life, in Toledo. He was renowned in his lifetime for his originality and extravagance and provides one of the most curious examples of the oscillations of taste in the evaluation of a painter,   Related Paintings of GRECO, El :. | Altarpiece | Saint Francis Receiving the Stigmata | Christ on the Cross with the Two Maries and St John | St Francis and Brother Rufus | St Martin and the Beggar |
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Josef Danhauser
Josef Danhauser (August 19, 1805, Laimgrube (now a part of Mariahilf or Neubau) - May 4, 1845) was an Austrian painter, one of the main artists of Biedermeier period, together with Ferdinand Georg Waldmeller, Peter Fendi, among others. His works, not very appreciated in his days, dealt with very moralising subjects and they had a clear influence of William Hogarth. Joseph Danhauser was born in Vienna in 1805, the eldest son of sculptor and furniture manufacturer Joseph Ulrich Danhauser and his wife Johanna (nee Lambert). He took his first painting lessons with his father and he later assisted the Vienna Academy of Fine Arts. He studied with Johann Peter Krafft and made his first exhibition 1826. Invited by Johann Ladislaus Pyrker, patriarch of Venice, he visited the city of Doges, where he started to study the Italian masters. He came back to Vienna via Trieste in 1827, visiting Prague. That very year he painted Ludwig van Beethoven's death mask, roughly 12 hours after his death and a water-colour representing his deathbed. In 1828, he spent some time in Eger, with an invitation of this Hungarian city archbishop Pyrker. He solicited him for some pictures for the gallery of the Archdiocese. After his father's death in 1829, his brothers and he managed his furniture factory during the Biedermeier movement, being the precursors of modern design. That made him put his painting career aside. In 1833, he responded to a second invitation from Eger's archbishop and he painted The martyr of Saint John for a new basilica in the city and he received the Vienna Academy prize for his picture Die Verstobung der Hagar and he specialised in Genre works. In 1838, he was appointed vice-rector of the Academy and married Josephine Streit, who was the daughter of a physician and with whom he had three children, Josef, Marie and Julie, born in 1839, 1841 and 1843 respectively. Josef Danhauser was appointed professor of historical Painting at the Academy in 1841, but he left this occupation and he travelled around Germany and the Netherlands with the textile maker, art aficionado and art sponsor Rudolf von Arthaber. In this journey, he was very interested in the Dutch School and the format of his works was littler. He died of typhus in Vienna in 1845. They named a street with his name in Vienna in 1862.
Samuel Sidley
British 1829-1896
Niko Pirosmani
Pirosmani was born in the Georgian village of Mirzaani to a peasant family in the Kakheti province. His family owned a small vineyard. He was later orphaned and put in the care of his two elder sisters. He move with them to Tbilisi in 1870. In 1872 he worked as a servant for wealthy families and learned to read and write Russian and Georgian. In 1876 he returned to Mirzaani and worked as a herdsman. Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882 he opened a workshop in Tbilisi which was unsuccessful. In 1890 he worked as a railroad conductor, and in 1895 worked creating signboards. In 1893 he co-founded a dairy farm in Tbilisi which he left in 1901. Throughout his life Pirosmani, who was always poor, was willing to take up ordinary jobs including housepainting and whitewashing buildings. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than abstract aesthetics.