Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,   Related Paintings of MAGNASCO, Alessandro :. | The Observant Friars in the Refectory | Christ Adored by Two Nuns | Storm at the Sea | Training the Magpie | Landscape with a Man Moving a barrel beside the Shore (mk05) |
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CAMPI, Giulio
Italian Painter, ca.1502-1572 The eldest of a family prominent painters, Campi was born at Cremona. His father Galeazzo (1475-1536) taught him the first lessons in art. In 1522, in Mantua, he studied painting, architecture, and modelling under Giulio Romano. He visited Rome, became an ardent student of the antique, and like Bernardino ?? distantly related to him ?? he combined a Lombard and Roman traditions. He collaborated on some works with Camillo Boccaccino, the son of Boccaccio Boccaccino, with whom Campi may also have received training. Campi is called the "Ludovico Carracci of Cremona" although he preceded the founder of the Eclectics. When but twenty-seven Giulio executed for the church of Sant' Abbondio his masterpiece, a Virgin and Child with Sts. Celsus and Nazarus, a decoration masterly in the freedom of its drawing and in the splendour of its colour. His numerous paintings are grandly and reverently conceived, freely drawn, vigorously coloured, lofty in style, and broadly handled. He was animated in all his work by a deep piety. Numerous of his fresco works are housed in churches of Cremona, Mantua, Milan and in the church of Saint Margaret's, in his native town. Among his chief works are the Descent from the Cross (S. Sigismondo) at Cremona, and the frescoes in the dome of S. Girolamo at Mantua. An altar-piece in S. Sigismondo and his Labours of Hercules were engraved by the celebrated Ghiso, il Mantovano. He died in Cremona in 1572.
BOTH, Andries
Dutch Baroque Era Painter, ca.1612-1641 Andries Both (1612/1613, Utrecht - March 23, 1642, Venice) Dutch genre painter, one of the bamboccianti, and brother of Jan Dirksz Both. Both was the son of a glass painter, and studied under Abraham Bloemaert. According to Joachim von Sandrart, Andries and his brother Jan cooperated on the paintings, with Jan painting the landscapes and Andries the figures, though this view has been revised in the 20th century. Andries stayed in Rouen in 1633, and he traveled on to Rome, where is documented from 1635 to 1641. He first shared a studio with a fellow painter from Utrecht, Jan van Causteren. In 1638 his brother joined him, living on the Via Vittoria in the parish of San Lorenzo in Lucina and perhaps both joining the Accademia di San Luca and the group of painters led by Pieter van Laer. In 1641 the brothers traveled back to Holland, but Andries met his death in Venice on the way, drowning in a canal as he was returning from some festivities.
Rosalba carriera
Italian Rococo Era Painter, 1675-1757 Italian pastellist and painter. She was a daughter of Andrea Carriera, who worked in the mainland podesteria of the Republic of Venice, and of Alba Foresti, an embroiderer. She had two sisters: Angela, who married the painter Giovanni Antonio Pellegrini, and Giovanna, who, like Rosalba herself, never married. Pier Caterino Zeno (see Campori, 1886) and other, anonymous sources recorded that she was a pupil of Giuseppe Diamantini; according to Mariette, she originally painted snuff-boxes and later became a pupil of Federico Bencovich. There are more precise records of her life and of some of her works from 1700 onwards