Ivana Kobilca (20 December 1861 - 4 December 1926) was a Slovene realist painter who lived, worked and studied in various European cities including Vienna, Sarajevo, Berlin, Paris and Munich. She was a member of Societe Nationale des Beaux Arts in Paris. Many of her paintings are still lifes, portraits or country settings. She later tended toward impressionism. Her best known paintings are Kofetarica (Coffeemadam), 1888; Citrarica (The Zitherist), Likarice (Women Ironers), 1891; Holandsko dekle (A Dutch Girl), Portret sestre Fani (Portrait of Sister Fani), 1889; and Poletje (Summer), 1889.  Related Paintings of Ivana Kobilca :. | Kofetarica | Portret mladenke | V lopi | Summer | Spanski bezeg |
Related Artists:
Francesco Granacci
1477-1543 Italian Francesco Granacci Galleries Born at Villamagna di Volterra, he trained in Florence at the studio of Domenico Ghirlandaio, and was employed painting frescoes for San Marco on commission of Lorenzo de'Medici. He is featured in Giorgio Vasari's Vite. His early works were influenced from the style of Filippino Lippi, like the Enthroned Madonna between Saint Michael and John the Baptist (Staatliche Museen, Berlin), Adoration of the Child (Honolulu Academy of Arts) and four histories of Saint John the Baptist. In 1508, Granacci went to Rome, where, with other artists, he helped Michelangelo transfer cartoons to the Sistine chapel ceiling. The two artists were lifelong friends. Returning to Florence, Granacci painted a Madonna with Child with Saints Francesco and Jerome for the Augustinian convent of San Gallo (now in the Gallery of the Academy), a Madonna della Cintola for the Company of San Benedetto Bigi, and in 1515 he participated in creating the decorations to celebrate the visit to Florence of Pope Leo X.
Gerard Seghers
(Antwerp, 1591-18 March 1651), also Zegers, was a Flemish Baroque painter and one of the leading Caravaggisti in the Southern Netherlands. He was the son of an innkeeper but not related to the jesuit and painter Daniel Seghers. He was possibly a student of either Abraham Janssens or Hendrick van Balen, and he showed great talent, because in 1608 aged only 17 he is listed as a master in the Guild of St. Luke. It was during his trip to Italy around 1613 that he came under the influence of Caravaggio's followers. Bartolomeo Manfredi, in particular, was influential. Many other Dutch and Flemish painters were working in the style there, such as Gerard Honthorst, which is strongly characterized half-length figures illuminated by strong lighting and dramatic chiaroscuro. One work from this period is his Judith with the Head of Holofernes in the Galleria Nazionale d'Arte Antica, Rome. Caravaggism, both in history and monumental genre paintings, continued to mark Seghers's works when he returned to Antwerp around 1620. The Patient Job, National Gallery, Prague.He married on his return to Antwerp (ca.1621) with Catharina Wouters (d.1656), with whom he had eleven children. His son Jan-Baptist Seghers (1624-1670) also became a painter. After 1630, his palette lightens up considerably and the influence of Peter Paul Rubens is noticeable in paintings like the Adoration of the Magi (1630) in the Church of Our Lady, Bruges.
BASSANO, Jacopo
Italian High Renaissance Painter, ca.1510-1592 Jacopo Bassano (also known as Jacopo da Ponte, c. 1515 - 13 February 1592) was an Italian painter who was born and died in Bassano del Grappa near Venice, from which he adopted the name. His father Francesco Bassano the Elder was a "peasant artist" and Jacopo adopted some of his style as he created religious paintings with novel features including animals, farmhouses, and landscapes. He trained initially with his father, Francesco da Ponte the Elder, then in the studio of Bonifacio Veneziano. His mature style, however, followed the example of Titian. Having worked in Venice and other Italian towns, he established a workshop in Bassano with his four sons: Francesco the Younger (1549?C1592), Girolamo (1566?C1621), Giovanni Battista (1553?C1613), and Leandro (1557?C1622). They shared his style, and some works are difficult to attribute precisely.