(Naples, 1716-Madrid, 1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jose Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725. After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain.   Related Paintings of Luis Eugenio Melendez :. | Queen consort of Spain | Still-Life | Still Life with Fruit and Cheese | Still-Life | Philip V in Hunting Costume |
Related Artists:
constant permeke
Constant Permeke (Dutch pronunciation: July 31, 1886 ?C January 4, 1952) was a Belgian painter and sculptor who is considered the leading figure of Flemish expressionism. Permeke was born in Antwerp but when he was six years old the family moved to Ostend, where his father became curator of the Municipal Museum of Arts. Permeke went to school in Bruges from 1903 until 1906, when he was drafted into the Belgian army. He served in a university company with whom he settled in Sint-Martens-Latem. After his military service ended in March 1908, Permeke returned to Ostend where he roomed together with another artist, Gustave De Smet but in 1909 he returned to Latem where he lived as a recluse. His work of this period is characterized by his heavy brush. In 1912 Permeke married Maria Delaere and the newlyweds settled in Ostend. His work from this period gains its expressive force through muted tonality and brutal forms. When World War I started, Permeke was mobilized and during the defense of Antwerp he was wounded in action near the town of Duffel. His wounds forced him to be evacuated to the United Kingdom where he was in hospital at South Hillwood. After his release from hospital he was reunited with his family in Folkestone, where his son John was born. In 1916 he moved to Chardstock in Devonshire and started painting again, mostly colorful English landscapes. After the end of the war, the Permeke family returned to Ostend in 1919. In contrast to the happy time in Devonshire, the harsh reality of the worker's life turns Permeke's work back to a gloomier mood as he mainly paints the harsh fisherman's life. In 1921 Permeke was able to exhibit his work in Antwerp and in Paris. Between 1922 and 1924, Permeke regularly went to Astene, in order to cooperate with Frits Van den Berghe. In 1926 Permeke went to Vevey in Switzerland where he mainly painted mountain scenes. In 1929 he moved to Jabbeke. During this period he changed his subject: instead of the fisherman and the sea he now focused on the farmer and his land. During this period, Permeke was enormously productive with works like "Gouden Oogst" (1935), "De Grote Marine" (1935), "Moederschap" (1936), "Het Afscheid" (1948), "Dagelijks Brood" (1950). Starting in 1937 Permeke tried his hand at sculpting as well. As a sculptor, Permeke tried to isolate the human figure in monumental efforts. "De Zaaier" (1939), "Niobe" (1946) and "De Drie Gratiën" (1949) are good examples of this period. During World War II, Permeke was forbidden to paint by the German occupiers as his art was seen by them as Entartete Kunst. Privately, things were even worse as his son Paul was arrested and sent to Germany as a forced labourer. After the war, Permeke was appointed director of the National higher Institute and of the Royal Academy in Antwerp but after only one year he offered his resignation. In 1947-1948, Permeke had a big retrospective exhibition in Paris but his happiness at the return of his son was soon shattered when in 1948 his wife died. Emotionally scarred and ailing, Permeke had to be nursed by his daughter.
Melozzo da Forli
1438-1494 Italian Melozzo da Forli Location Melozzo came, it is supposed, of a wealthy family named Ambrosi from Forl??. Nothing is known about his early years, and it is only a hypothesis that he formed at the Forlivese school of art, then ruled by Ansuino da Forl??, for they were both influenced by the Mantegna manner. It has been said that he became a journeyman and color-grinder to some of the best masters, in order to prosecute his studies; this lacks confirmation. His presence his first mentioned in his birthplace in 1460 and again in 1464. Around this period, together with Antoniazzo Romano, frescoed the Bessarione chapel in the basilica dei Santi Apostoli in Rome. Melozzo presumably moved to in Urbino between 1465 and 1475: here he met the highly theoretical and mathematical Piero della Francesca, who profoundly influenced the Melozzo style and use of perspective. He should have also studied the architectures by Bramante and other Flemish painters then working for the duke Federico da Montefeltro: perhaps Melozzo worked with Justus of Ghent and Pedro Berruguete to the decoration of the studiolo of the famous Ducal Palace of the city. In 1475 Melozzo transferred to Rome, though some authorities claim his presence in Rome ten (or five) years earlier to work in the Basilica di San Marco. In 1477 he finished his first major work in the new seat, a fresco now transferred to canvas and placed in the Pinacoteca Vaticana, representing the appointment of Bartolomeo Platina by Sixtus IV as librarian of the restored Vatican Library. In 1478 he was one of the original members of the academy of St Luke, founded by Sixtus IV to unite the main painters working in the city. About 1480 Melozzo was commissioned by Pietro Riario to paint the vault of the apse in the basilica dei Santi Apostoli in Rome, his subject being the Ascension. The figure of Christ is so boldly and effectively foreshortened that it seems to burst through the vaulting; this fresco was taken down in 1711, and the figure of Christ is now in the Quirinal Palace; while some of the other portions, almost Raphaelesque in merit, are in the sacristy of St Peter: a hall in the Vatican Museums is designed for angels and apostles by Melozzo taken down the same fresco. Another work of the Roman period is an Annunciation that can still be seen in the Pantheon. Melozzo last work in Rome is a chapel, now destroyed, in the church of Santa Maria in Trastevere. After the death of Sixtus IV in 1484 he moved from Rome to Loreto. Here he painted the fresco in the cupola of San Marco sacristy in the basilica della Santa Casa, commissioned by cardinal Girolamo Basso della Rovere. It is one of the first examples of a cupola decorated both with architectures and figures, with a profound influence from the Camera Picta by Mantegna. In 1489 Melozzo returned in Rome. In this second period he probably drew some cartoons for the mosaics of Jesus blessing in the St. Helen chapel of the basilica of Santa Croce in Gerusalemme. Pope Sixtus IV appoints Bartolomeo Platina prefect of the Vatican Library, c. 1477 (fresco) (Vatican Museums)Melozzo also painted the cupola of the Capuchin church at Forl??, destroyed in 1651; and it has been said that he executed at Urbino some of the portraits of great men (Plato, Dante, Sixtus IV, etc.) which are now divided between the Barberini Palace and the Campana collection in Paris. In 1493 he worked to some ceilings of the Palazzo Comunale of Ancona, which have gone lost. Eventually Melozzo moved to Forl??, where, together with his pupil Marco Palmezzano, decorated the Feo Chapel in the church of San Biagio, which was destroyed during World War II. The Pinacoteca of Forl?? houses a fresco by Melozzo, termed the Pestapepe, or Pepper-grinder, originally painted as a grocer sign; it is an energetic specimen of rather coarse realism, now much damaged. It is the only non-religious subject by Melozzo.
Ernest Lawson
1873-1939 Ernest Lawson Galleries Ernest Lawson (March 22, 1873 ?C December 18, 1939) was a Canadian-American painter and a member of The Eight, a group of artists which included the group's leader Robert Henri, Everett Shinn, John Sloan, Arthur B. Davies, Maurice Prendergast, George Luks, and William J. Glackens. Lawson was born in Halifax, Nova Scotia. Though Lawson mostly painted landscapes, he also did some realistic urban scenes which were shown at the 1908 exihibition of The Eight. His painting style is heavily influenced by Impressionism, especially the style of John Henry Twachtman, Alfred Sisley, and J. Alden Weir. Lawson exhibited as a member of the Canadian Art Club from 1911 to 1915. He died in Miami Beach, Florida in 1939.