1796-1875 Corot Locations French painter, draughtsman and printmaker. After a classical education at the College de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers, his career as a whole shows his attachment to the principles of historic landscape painting which they professed.  Related Paintings of Jean Baptiste Camille Corot :. | The Letter_3 | Ville d'Avray The Pond and the Cabassud House | La Trinite-des-Monts (mk11) | La lecture interrompue (mk11) | Rosny,the Chateau of the Duchesse de Berry (mk05) |
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Ridolfo Schadow
1786-1822 Rome,Sculptor, son of Johann Gottfried Schadow. He trained in his father's studio in Berlin, exhibiting statues and reliefs at the Berlin Akademie exhibitions between 1802 and 1810. Work from this period included both mythological and religious subjects, such as the plaster relief The Flood (c. 1804; Berlin, Alte N.G.). In 1810, with his brother Wilhelm Schadow, Ridolfo moved to Rome, in 1811 taking over the Roman sculpture studio of Christian Daniel Rauch. Schadow's first Roman work, a statue of Paris (destr.; several copies, e.g. bronze, 1820; Potsdam, Schloss Charlottenhof) was exhibited at the Berlin Akademie in 1812, and it reveals the influence of the Danish sculptor Bertel Thorvaldsen. Although homesickness and lack of confidence drove Schadow briefly back to Berlin, he soon returned to Rome, along with Rauch. From this point Schadow's work is markedly individual: he brought a realistic, genre treatment to his figures, which drew on both classical tradition and the formal language of idealizing early 19th-century painting. He chose subjects that offered scope for idealization within a realistic context, as in the seated figures of a Woman Fastening her Sandals (marble, 1813; Munich, Bayer. Nmus.), a Woman Spinning (marble, 1816; Cologne, Wallraf-Richartz-Mus.) and a Girl with Doves (Innocence) (marble, 1820; Berlin, Alte N.G.). Under the influence of his brother Wilhelm and of Friedrich Overbeck, Schadow converted to Catholicism in 1814. His early death interrupted work on the plaster model for a sculptural group,
William e.harris
fl.1883-1891
Giovanni Battista Paggi
Italian Baroque Era Painter, 1554-1627 Italian painter and theorist. As the son of a newly inscribed nobleman, he received a Renaissance gentleman's education, but as an artist he was it seems self-taught, despite the encouragement of Luca Cambiaso. The gentleman who then set up as a painter was obliged to give his work to patrons, sometimes expecting future remuneration; but when one patron reneged on payment in 1581, Paggi mortally wounded him and was banished from Genoa. He was given protection by Francesco I de' Medici, Grand Duke of Tuscany, and settled in Florence. A fresco of St Catherine Converting Two Criminals (1582), painted for Niccol? Gaddi's family chapel at S Maria Novella and thoroughly Florentine in manner, established Paggi's reputation at the Medici court. He painted ephemeral decorations, portraits (all untraced) and altarpieces for many Florentine churches and for the cathedrals of San Gimignano (c. 1590), Pistoia (1591-3) and Lucca (1597-8), having his studio in a house owned by Federico Zuccaro.