J. A. D. Ingres (1780-1867) was born in Montauban on August 29, 1780, the son of an unsuccessful sculptor and painter. French painter. He was the last grand champion of the French classical tradition of history painting. He was traditionally presented as the opposing force to Delacroix in the early 19th-century confrontation of Neo-classicism and Romanticism, but subsequent assessment has shown the degree to which Ingres, like Neo-classicism, is a manifestation of the Romantic spirit permeating the age. The chronology of Ingres's work is complicated by his obsessive perfectionism, which resulted in multiple versions of a subject and revisions of the original. For this reason, all works cited in this article are identified by catalogue.   Related Paintings of Jean Auguste Dominique Ingres :. | Self-Portrait at the age of 78 (mk04) | Portrait of the Sculptor Paul Lemoyne (mk04) | Ruggiero Rescuing Angelica | Roger Delivering Angelica. | Roger Freeing Angelica |
Related Artists:
Pauwels van Hillegaert
(1596-1640) was a Dutch Golden Age painter of landscapes and military scenes. He married Anneken Homis from Antwerp in 1620, with whom he had several children, including the painter with the same name, Pauwels van Hillegaert II (1621-1658). This Pauwels Jr. married Cornelia de Vlieger (daughter of Simon de Vlieger) and had two daughters. When Pauwels Jr. like his father died at a relatively young age, Cornelis de Bie wrote a commemorative poem about him. Pauwels Sr. won royal commissions to paint battle scenes, most notably for the Siege of 's-Hertogenbosch in 1629. He also won a commission for the Battle of Nieuwpoort. He also painted Italianate landscapes, but was mostly admired for his horses and armor.
William Berczy
(December 10, 1744, Wallerstein near Noerdlingen, Germany - February 5, 1813, New York City, USA) was a German pioneer and painter. Born in Swabia, Germany as a son of the Wirklicher Hofrat Albrecht Theodor Moll and Johanna Josepha Walpurga Moll nee Hefele, he was originally named Johann Albrecht Ulrich Moll, but later changed his name. He studied at the Akademie der bildenden Kenste in Vienna and at the University of Jena in Saxony. His early career was spent in several European countries, including Italy (meeting with Johann Wolfgang von Goethe in Florence) and England, where he exhibited at the Royal Academy. In 1792 he sailed for the Americas, setting up a business in York (now - since 1834 - Toronto) a couple of years later. He also worked in Quebec. Although best known for his portraits, he also carried out religious paintings and architectural work, including plans for Christ Church Cathedral in Montreal in 1803, and was a surveyor.
Benvenuto Tisi
(1481 - September 6, 1559) was a Late-Renaissance-Mannerist Italian painter of the School of Ferrara. Garofalo's career began attached to the court of the Duke d'Este. His early works have been described as "idyllic", but they often conform to the elaborate conceits favored by the artistically refined Ferrarese court. Born in Ferrara, Tisi is claimed to have apprenticed under Panetti and perhaps Costa and was a contemporary, and sometimes collaborator with Dosso Dossi. In 1495 he worked at Cremona under Boccaccino, who initiated him into Venetian colouring. He may have spent three years (1509 - 1512), in Rome. This led to a stylized classical style, more influenced by Giulio Romano. Invited by a Ferrarese gentleman, Geronimo Sagrato, to Rome, he worked briefly under Raphael in the decoration of the Stanza della Segnatura. From Rome family affairs recalled him to Ferrara; there Duke Alfonso I commissioned him to execute paintings, along with the Dossi, in the Delizia di Belriguardo and in other palaces. Thus the style of Tisi partakes of the Lombard, the Roman and the Venetian modes. He painted extensively in Ferrara, both in oil and in fresco, two of his principal works being the "Massacre of the Innocents" (1519), in the church of S. Francesco, and his masterpiece "Betrayal of Christ" (1524). For the former he made clay models for study and a clay figure. He continued constantly at work until in 1550 blindness overtook him, painting on all feast-days in monasteries for the love of God. He had married at the age forty-eight, and died at Ferrara on the 6th (or 16th) of September 1559, leaving two children. Garofalo combined sacred inventions with some very familiar details. A certain archaism of style, with a strong glow of colour, suffices to distinguish from the true method of Raphael even those pictures in which he most closely resembles the great masterthis sometimes very closely; but the work of Garofalo is seldom free from a certain trim pettiness of feeling and manner.