1799-1852  Related Paintings of Karl Pavlovic Brullow :. | Grablegung Christi | Modern Greece,and many a summer flower is there Childe Harold (mk47) | The virgin and Child between John the Baptist and Anthony (mk05) | Peasant Family in a Cottage Interior | Saint Francis of Assisi (nn03) |
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John wharlton bunney
1828-1882 was an English topographical and landscape artist of the nineteenth century. His father was a merchant captain whom Bunney, as a boy, accompanied on several voyages around the world. Bunney demonstrated a strong talent for drawing and draftsmanship from an early age. The young Bunney became a follower of John Ruskin; he studied with Ruskin at the Working Men's College soon after its founding in 1854, and later worked as a clerk for Smith, Elder & Co., Ruskin's publisher. Bunney was able to give up his clerical job and make his living by his art and art teaching by 1859; Ruskin commissioned him to execute a series of drawings in Italy and Switzerland.Bunney married Elizabeth Fallon in 1863. The couple settled in Florence; they would have four children. Bunney worked for Ruskin's St. George's Company (later the Guild of St George) in northern Italy for the remainder of his life. In his career there, Bunney produced a noteworthy pictorial record of Italy in his era. Ruskin said that Bunney's work was "so faithful and careful as almost to enable the spectator to imagine himself on the spot." Bunney was a friend of many of the Pre-Raphaelites, especially William Holman Hunt. From 1870 on, Bunney lived and painted in Venice. In 1876 Ruskin commissioned Bunney to paint a picture that included the entire western facade of St. Mark's Basilica
Bacon, Henry
American, 1839-1912
Francois Clouet
1510-1572 French Francois Clouet Locations The earliest reference to him is a document dated December 1541 (see Jean Clouet), in which the king renounces for the benefit of François his father estate, which had escheated to the crown as the estate of a foreigner. In this document, the younger Clouet is said to have followed his father very closely in his art. Like his father, he held the office of groom of the chamber and painter in ordinary to the king, and so far as salary is concerned, he started where his father left off. Many drawings are attributed to this artist, often without perfect certainty. There is, however, more to go upon than there is in the case of his father. As the praises of Francois Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would guarantee the ascriptions usually accepted. To him are attributed the portraits of Francis I at the Uffizi and at the Louvre, and various drawings relating to them. He probably also painted the portrait of Catherine de Medici at Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. One of his most remarkable portraits is that of Mary, queen of Scots, a drawing in chalks in the Bibliotheque Nationale, and of similar character are the two portraits of Charles IX and the one at Chantilly of Marguerite of France. Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre. This piece made an important impression on Claude Levi-Strauss. In particular it helped inspire his theory of the mod??le reduit, or of works of art as simplifications and scale models of the realities they represent, and other theories of artworks, in his book The Savage Mind. Clouet resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hotel de Guise, and in 1568 is known to have been under the patronage of Claude Gouffier de Boisy, Seigneur d Oiron, and his wife Claude de Baune. Another ascertained fact concerning Francois Clouet is that in 1571 he was summoned to the office of the Court of the Mint, and his opinion was taken on the likeness to the king of a portrait struck by the mint. He prepared the death-mask of Henry II, as in 1547 he had taken a similar mask of the face and hands of Francis I., in order that the effigy to be used at the funeral might be prepared from his drawings; and on each of these occasions he executed the painting to be used in the decorations of the church and the banners for the great ceremony. Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II in the collection of J. Pierpont Morgan. Another of his portraits is that of Francois, duc d Alençon in the Jones collection at South Kensington, and certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him. He died on the 22nd of December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of property, is still in existence. His daughters subsequently became nuns. His work is remarkable for the extreme accuracy of the drawing, the elaborate finish of all the details, and the exquisite completeness of the whole portrait. He must have been a man of high intelligence, and of great penetration, intensely interested in his work, and with considerable ability to represent the character of his sitter in his portraits. His coloring is perhaps not specially remarkable, nor from the point of style can his pictures be considered especially beautiful, but in perfection of drawing he has hardly any equal.