1732-1806 French Jean Honore Fragonard Locations French painter. He studied with François Boucher in Paris c. 1749. He subsequently won a Prix de Rome, and while in Italy (1756 ?C 61) he traveled extensively and executed many sketches of the countryside, especially the gardens at the Villa d Este at Tivoli, and developed a great admiration for the work of Giovanni Battista Tiepolo. In 1765 his large historical painting Coresus Sacrifices Himself to Save Callirhoë was purchased for Louis XV and won Fragonard election to the French Royal Academy. He soon abandoned this style to concentrate on landscapes in the manner of Jacob van Ruisdael, portraits, and the decorative, erotic outdoor party scenes for which he became famous (e.g., The Swing, c. 1766). The gentle hedonism of such party scenes epitomized the Rococo style. Although the greater part of his active life was passed during the Neoclassical period, he continued to paint in a Rococo idiom until shortly before the French Revolution, when he lost his patrons and livelihood.   Related Paintings of Jean Honore Fragonard :. | Louis XIV and Moliere | Portrait of a Singer Holding a Sheet of Music | Captured kiss | A Young Scholar | The Souvenir |
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Casilear John William
American Hudson River School Painter, 1811-1893 was an American landscape artist belonging to the Hudson River School. Casilear was born in New York City. His first professional training was under prominent New York engraver Peter Maverick in the 1820s, then with Asher Durand, himself an engraver at the time. Casilear and Durand became friends, and both worked as engravers in New York through the 1830s. By the middle 1830s Durand had become interested in landscape painting through his friendship with Thomas Cole. Durand, in turn, drew Casilear's attention to painting. By 1840 Casilear's interest in art was sufficiently strong to accompany Durand, John Frederick Kensett, and artist Thomas P. Rossiter on a European trip during which they sketched scenes, visited art museums, and fostered their interest in painting. Casilear gradually developed his talent in landscape art, painting in the style that was later to become known as the Hudson River School. By the middle 1850s he had entirely ceased his engraving career in favor of painting full-time. He was elected a full member of the National Academy of Design in 1851, having been an associate member since 1831
James Ward
English Romantic Painter, 1769-1859 English painter and engraver. He was the most important animal painter of his generation. Many of his dynamic compositions depict horses, dogs or wild animals in agitated emotional states, the sense of movement being reinforced by vigorous brushwork and strong colours. With their sweeping landscapes and dramatic skies, his canvases epitomize Romanticism. Not content to excel merely as an animal painter, Ward also produced portraits, landscapes and genre and history paintings of varying quality.
Francesco Maria Schiaffino
Italian Rococo Era Sculptor, 1688-1763,Brother of Bernardo Schiaffino. He was the pupil and then assistant of Bernardo, who in 1721 sent him to complete his training in Rome, where he entered the workshop of Camillo Rusconi. He remained there until 1724, enriching his technique and cultural education by studying the works of Bernini, Rusconi and other sculptors. Back in Genoa, he executed such works as St Dominic (Genoa, Teatro Carlo Felice), in which Rusconi's influence is evident. The marble group of Pluto and Proserpine, sculpted for the Durazzo family and still in its original location (Genoa, Pal. Reale), is based on a bozzetto by Rusconi. In 1731 Schiaffino executed the grandiose Crucifix with Angels for King John V of Portugal (Mafra, Convent) and in 1738 began the theatrical funeral monument to Caterina Fieschi Adorno (Genoa, SS Annunziata di Portoria). The wax models of the Eight Apostles and Four Doctors of the Church that he modelled in 1739 (all untraced) were clearly inspired by the large Apostles by Rusconi and other sculptors in S Giovanni in Laterano, Rome. They were made for the stuccoist Diego Francesco Carlone so that he could, under Schiaffino's directions, execute 12 monumental statues in stucco (Genoa, S Maria Assunta in Carignano). In these latter works the classicizing authority of Rusconi's figures was transformed into a freer and more restless arrangement, the compact forms dissolving in the light, animated draperies. The statues reveal how Schiaffino had combined his knowledge of Roman sculpture with his study of Pierre Puget's Genoese works and with the style of the Piola workshop. He emulated the free rhythms of the Rococo found in the painting of Gregorio de' Ferrari, developing a decorative approach that is even more marked in the Assumption of the Virgin (1740; Varazze, S Ambrogio) and in the Rococo chapel of S Francesco da Paola (1755; Genoa, S Francesco da Paola), which he covered in polychrome marbles. His last works include the Virgin of Loreto (1762; Sestri Levante, Parish Church).