1665-1747 Italian Giuseppe Maria Crespi Locations 1747). Painter, draughtsman and printmaker. His religious and mythological works are distinguished by a free brushstroke and a painterly manner. He also painted spirited genre scenes, which by their quality, content and quantity distinguish him as one of the first Italian painters of high standing to devote serious attention to the depiction of contemporary life. Such paintings as Woman Laundering (1700-05; St Petersburg, Hermitage) or Woman Washing Dishes (1720-25; Florence, Uffizi) offer straightforward glimpses of domestic chores in images that are startlingly novel for the period and look forward to the art of Jean-Simeon Chardin, Jean-Francois Millet and Honore Daumier  Related Paintings of Giuseppe Maria Crespi :. | Searcher for Fleas | Aeneas with the Sybil and Charon | Saul Attacking David | Cupids Frollicking | Scene in a Cellar |
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Tom roberts
British-born Australian Painter, 1856-1931 Australian painter of English birth. A leader of the HEIDELBERG SCHOOL and pioneer of plein-air Impressionism in Australia, he has been described as 'the father of Australian landscape painting'. Having moved to Melbourne in 1869, he studied at the East Collingwood and Carlton Schools of Design and the National Gallery of Victoria's School of Art (1874-81) while working as a photographic assistant. He led sketching expeditions with Frederick McCubbin and initiated student requests for reforms at the school. Returning to England, he enrolled in the Royal Academy Schools, London, on 6 December 1881, officially recommended by Edwin Long. In the summer of 1883 he toured Spain with the painter John Peter Russell. He learnt something of French Impressionism from Spanish art students Ramon Casas and Loreano Barrau (b 1864), and then followed the latter's advice to visit the Academie Julian in Paris. He returned to Melbourne in 1885 and the following year established the first summer camp at Box Hill with McCubbin and Louis Abrahams (1852-1903), portrayed in his painting the Artists' Camp (c. 1886; Melbourne, N.G. Victoria). According to the painter Arthur Streeton, it was Roberts's 'quick perception and expression of the principles of Impressionism in the year 1886,
Nicolas Mignard
(1606-1668) was a French 17th Century painter. He spent most of his active life in Avignon and was the older brother of Pierre Mignard. Nicolas Mignard was born in Troyes in 1606. There, he studied painting with a local master. After traveling to Fontainebleau, Mignard came to Avignon in 1632. He then traveled to Rome with Cardinal Archbishop of Lyon. Mignard came back to Avignon in 1636, after having executed multiple series of etching in Rome. There, he mostly painted for religious institutions. Mignard spent the end of his life in Paris, where he became a successful portrait painter. Mignard left Paris after a visit of King Louis XIV and his Court in Avignon. King Louis XIV decided to bring Mignard to Paris. Mignard eventually joined the Academie Royale. Mignardes spending most of his life in Avignon made his career somewhat overshadowed by his little brother Pierre, who was installed in Paris. After his death, paintings by Nicolas Mignard mostly stayed in Avignon or in small cities around Avignon. During the French Revolution, as these paintings were taken over, most of them were attributed to Pierre Mignard. His art is now rediscovered. His style is typical of the Italianate classicizing aesthetic that dominated seventeenth-century France, and obviously was very much influenced by French classical Baroque painter Poussin. Nicolas Mignard died in 1668 in Paris.
Giovanni Domenico Cerrini
(1609-1681), also called Gian Domenico Cerrini or il Cavalier Perugino, was an Italian painter of the Baroque period, active mainly in Rome and influenced in large part by painter of the Bolognese School. Born in Perugia, Cerrini initially apprenticed under Giovanni Antonio Scaramuccia, then in 1638 moved into the Roman studio of Guido Reni, but strongly influenced by Lanfranco, Guercino, Domenichino, and Andrea Sacchi. He was patronized by the family of Cardinal Bernardino Spada. Cardinal Giulio Rospigliosi gave him the commission to decorate the cupola of Santa Maria della Vittoria (1654-5). His style has the monumental clarity of Domenichino, but somewhat sapped of vitality. Paintings of his can be found in many of the churches of Rome, where he died, including Santa Maria in Traspontina, San Carlino alle Quattro Fontane, Chiesa Nuova, San Carlo ai Catinari, Santissimo Sudario dei Piemontesi, Sant??Isidoro, as well as in Galleria Colonna, Palazzo Spada, and the Palazzo Corsini art gallery.