(1764-1835) was an Italian painter from Venice. The son of famous veduta painter Francesco Guardi, he continued his father's line of work, though without the same level of renown. The majority of his works are quite small views of only minor artistic interest, more akin to postcards than to his father's grand scenes, but he produced several paintings showcasing a notable level of artistic skill as well. Evaluating his legacy is somewhat complicated due to the frequency with which paintings are misattributed to him.  Related Paintings of Giacomo Guardi :. | Portrait of Rembrandt df | Prince George Augustus of Mecklenburg-Strelitzm dy | Shipwreck wr | Arab or Arabic people and life. Orientalism oil paintings 309 | Portrait of Sophia of Hanover |
Related Artists:
EYCK, Jan van
Flemish Northern Renaissance Painter, ca.1395-1441 Painter and illuminator, brother of Hubert van Eyck. According to a 16th-century Ghent tradition, represented by van Vaernewijck and Lucas d'Heere, Jan trained with his brother Hubert. Pietro Summonte's assertion (1524) that he began work as an illuminator is supported by the fine technique and small scale of most of Jan's works, by manuscript precedents for certain of his motifs, and by his payment in 1439 for initials in a book (untraced) for Philip the Good, Duke of Burgundy. Jan is first documented in The Hague in August 1422 as an established artist with an assistant and the title of 'Master', working for John III, Count of Holland (John of Bavaria; reg 1419-25), who evidently discovered the artist while he was bishop (1389-1417) of the principality of Liege.
Miguel Cabrera
(1695-1768) was an indigenous Zapotec painter during the Viceroyalty of New Spain, today's Mexico. During his lifetime, he was recognized as the greatest painter in all of New Spain. He was born in Antequera, today's Oaxaca, Oaxaca, and moved to Mexico City in 1719. He may have studied under the Rodreguez Juerez brothers or Jose de Ibarra. Cabrera was a favorite painter of the Archbishop and of the Jesuit order, which earned him many commissions. His work was influenced by Bartolome Esteban Murillo and the French painting of his time. While Miguel is most famous for his Casta paintings and his portrait of the poet Sor Juana, he also executed one of the first portraits of St. Juan Diego. In 1752 he was permitted access to the icon of Our Lady of Guadalupe to make three copies: one for Archbishop Jose Manuel Rubio y Salinas, one for the Pope, and a third to use as a model for further copies. In 1756 he created an important early study of the icon of Our Lady of Guadalupe, Maravilla americana y conjunto de raras maravillas observadas con la direccien de las reglas del arte de la pintura The essential purpose of Maravilla Americana was to affirm the 1666 opinions of the witnesses who swore that the image of the Virgin was of a miraculous nature. However, he also elaborated a novel opinion: the image was crafted with a unique variety of techniques. He contended that the Virgin's face and hands were painted in oil paint, while her tunic, mandorla, and the cherub at her feet were all painted in egg tempera. Finally, her mantle was executed in gouache. He observed that the golden rays emanating from the Virgin seemed to be of dust that was woven into the very fabric of the canvas, which he asserted was of "a coarse weave of certain threads which we vulgarly call pita," a cloth woven from palm fibers. In 1753, he founded the second Academy of Painting in Mexico City and served as its director.
Charles Barber
British 1845-1894