Swiss-born British Romantic Painter, 1741-1825 Henry Fuseli was the first artist to command the epic literature and heroic history of northern Europe as well as the Mediterranean countries, and by his wide reading and close study of the Old Masters he equipped himself to extend the scope of history painting far beyond the traditional limits of the Bible and classical antiquity. In his speculative boldness he was a child of the Enlightenment, but he was also a fierce critic of sterile rationalism and preached the gospel of the imagination with religious fervor. Henry Fuseli was born Johann Heinrich F??ssli (in 1764 he Anglicized his name) in Zurich on Feb. 6, 1741, the son of a painter with strong religious convictions who destined him for the Zwinglian ministry. After a period of intensive theological study Fuseli was ordained in 1761 and preached his first sermon. He was a friend of Johann Kaspar Lavater, whose Aphorisms on Man he later translated into English from manuscript. Fuseli became the favorite disciple of Johann Jakob Bodmer, who in 1740 had published an essay on the wonderful in poetry that led to a literary war with Johann Christoph Gottsched in Germany and the formation of a revolutionary Swiss school which used English literature, especially Milton and Shakespeare, as a spearhead in promoting romanticism.  Related Paintings of Henry Fuseli :. | Kriemhild and Gunther, | The artist in conversation with Johann Jakob Bodmer | Kriemhilde Sees the Dead Sikegfried in a Dream (mk45) | Silence | The Nightmare (mk22) |
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Aureliano De Beruete Y Moret
Spanish , Madrid, 1845 - Madrid, 1912 Spanish writer, painter and collector. After pursuing a political career and taking a doctorate in civil and canon law, he dedicated himself to writing on art and produced important studies on Diego Velezquez (1898), Joaqu'n Sorolla y Bastida (1901) and other artists. He travelled extensively and enthusiastically in Europe (France, Belgium, Switzerland, the Netherlands, Italy, Germany, England and elsewhere), studying especially the different national schools of painting. On his travels he also painted landscapes. After working for some time as a copyist in the Museo del Prado, Beruete decided in 1873 to concentrate his efforts on painting and on learning to perfect his craft. He enrolled at the Escuela Superior de Bellas Artes de S Fernando in Madrid and also studied at the studio of Carlos de Haes. Beruete was among the founders of the Instituci'n Libre de Enseeanza, and with its members, and with Carlos de Haes, he made several study trips abroad. In Paris he came to know the painting of the Barbizon school, and in Belgium he assimilated the teaching of the generation of landscape artists who had adopted a form of Realism.
Raja Ravi Varma
1848-1906, Indian painter. He was the most important and one of the earliest Indian artists of the 19th century to work in oil paints. The subjects of his paintings were often mythological, but they were produced in a European historicist style. He absorbed the influence of such French 19th-century academic painters as William-Adolphe Bouguereau and Gustave Boulanger and of Indian contemporary popular theatre, specializing in the type of mythological paintings that found favour with Indian rajas and British administrators. His successful exploitation (from 1894) of the lithographic reproduction of his paintings ensured, for the first time in India, that the work of an individual artist could reach a mass market.
Tintoretto
Italian Mannerist Painter, ca.1518-1594 His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.