Ukrainian-born Russian Realist Painter, 1844-1930 was a leading Russian painter and sculptor of the Peredvizhniki artistic school. An important part of his work is dedicated to his native country, Ukraine. His realistic works often expressed great psychological depth and exposed the tensions within the existing social order. Beginning in the late 1920s, detailed works on him were published in the Soviet Union, where a Repin cult developed about a decade later, and where he was held up as a model "progressive" and "realist" to be imitated by "Socialist Realist" artists in the USSR. Repin was born in the town of Chuhuiv near Kharkiv in the heart of the historical region called Sloboda Ukraine. His parents were Russian military settlers. In 1866, after apprenticeship with a local icon painter named Bunakov and preliminary study of portrait painting, he went to Saint Petersburg and was shortly admitted to the Imperial Academy of Arts as a student. From 1873 to 1876 on the Academy's allowance, Repin sojourned in Italy and lived in Paris, where he was exposed to French Impressionist painting, which had a lasting effect upon his use of light and colour. Nevertheless, his style was to remain closer to that of the old European masters, especially Rembrandt, and he never became an impressionist himself.   Related Paintings of Ilya Repin :. | Prepare of Exam | Choosing a Bride for the Grand Duke | Boat tracker | Study for the picture Formal Session of the State Council. | Ceremonial session of the State Council 1900 |
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Alesso Baldovinetti
(October 14, 1427??August 29, 1499) was an Italian early Renaissance painter. Baldovinetti was born in Florence to a family of a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore." He was a follower of the group of scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Tradition says that he assisted in the decorations of the church of S. Egidio, however no records confirm this. These decoration were carried out during the years 1441 - 1451 by Domenico Veneziano and in conjunction with Andrea del Castagno. That he was commissioned to complete the series at a later date (1460) is certain. In 1462 Alesso was employed to paint the great fresco of the Annunciation in the cloister of the Annunziata basilica. The remains as we see them give evidence of the artist's power both of imitating natural detail with minute fidelity and of spacing his figures in a landscape with a large sense of air and distance; and they amply verify two separate statements of Vasari concerning him: that "he delighted in drawing landscapes from nature exactly as they are, whence we see in his paintings rivers; bridges, rocks, plants, fruits, roads, fields, cities, exercise grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters. His favourite method in wall-painting was to lay in his compositions in fresco and finish them a secco with a mixture of yolk of egg and liquid varnish. This, says Vasari, was with the view of protecting the painting from damp; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure. In 1463 he furnished a cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the sacristy of the cathedral and still exists. From 1466 date the groups of four Evangelists and four Fathers of the Church in fresco, together with the Annunciation on an oblong panel, which still decorate the Portuguese chapel in the basilica of San Miniato, and are given in error by Vasari to Piero Pollaiuolo. A fresco of the risen Christ between angels inside a Holy Sepulchre in the chapel of the Rucellai family, also still existing, belongs to 1467. In 1471 Alesso undertook important works for tile church of Santa Tr??nita on the commission of Bongianni Gianfigliazzi. First, to paint an altar-piece of the Virgin and Child with six saints; this was finished in 1472: next, a series of frescoes from the Old Testament which was to be completed according to contract within five years, but actually remained on hand for fully sixteen. In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand gold forms by a committee consisting of Cosimo Rosselli, Benozzo Gozzoli, Perugino and Filippino Lippi; only some defaced fragments of it now remain.
James Bonar
American 1864-1942
Albertinelli, Mariotto
Italian Early Renaissance Painter, 1474-1515] Studied under Cosimo Rosselli. Albertinelli's students included Pontormo . Italian painter. Albertinelli's contribution to the Florentine High Renaissance was inspired by the work of FRA BARTOLOMMEO, and the two artists worked together in a partnership, their paintings appearing to be the product of a single hand. Albertinelli, however, always retained artistic independence, as is revealed in certain paintings that are eccentrically archaic and in others that show a preference for conventions more typical of the early Renaissance.