Russian Symbolist Painter, 1856-1910
Russian painter and draughtsman. He was a pioneer of modernism, and his highly innovative technique broke with the traditions of the Academy of Arts in St Petersburg, where he had been a brilliant student; at the same time he felt dissociated from the social consciousness of The Wanderers. Related Paintings of Mikhail Vrubel :. | Pearl oyster | Demon | Lilacs | Valkyrie | Pearl | Related Artists:
Emile LevyParis 1826 - Paris 1890.
French Academic Painter, 1826-1890.
Studied under François-Edward Picot and Abel de Pujol.
Bernaert Van OrleyFlemish Northern Renaissance Painter, ca.1488-1541, Painter and tapestry designer, son of Valentin van Orley. He was one of the greatest proponents of ROMANISM, a northern style based on the ideals of the Italian Renaissance. It must have been in Brussels, however, that he saw the Italian works of art that influenced him so profoundly, for it seems unlikely that he ever travelled to Italy. Brussels was then world-renowned as the centre for tapestry manufacture but was suffering from the ecliptic rise of Antwerp as the pre-eminent painting centre. The artist made the best of both situations, establishing himself as a leading designer for the Brussels tapestry industry and as a master in the Antwerp Guild of St Luke by 1517.
PERRONNEAU, Jean-BaptisteFrench Rococo Era Painter, ca.1715-1783
French pastellist, painter and engraver. He was, with his older contemporary Maurice Quentin de La Tour, the most important pastel artist and portrait painter in 18th-century France. Perronneau trained first with the engraver Laurent Cars and then with the successful portrait painter Hubert Drouais. His work as an engraver, which includes prints after Charles-Joseph Natoire, Fran?ois Boucher, Edme Bouchardon and Carle Vanloo (see Vaillat and Ratouis de Limay,), did not continue beyond the 1730s. Nevertheless, his involvement with Cars, much of whose work consisted in the reproduction of portraits by artists such as Hyacinthe Rigaud, left its mark on the composition of his pastels, most of which employ the bust-length format, often within a feigned stone oval typical of 17th- and 18th-century engraved portraits. His early pastel portrait of Mme Desfriches (1744; France, A.M. Ratouis de Limay priv. col.), mother of his friend and patron, the Orl?ans collector Aignan-Thomas Desfriches,