Romanian Painter, 1838-1907 From 1848 he trained in Bucharest with various church painters, producing icons and religious mural decorations. These works, which soon attracted attention, were influenced in style by the Viennese classicism widespread in the Romanian principalities in the early 19th century and by the Italian academicism established there after 1850 by Gheorghe Tattarescu. The earliest of his known paintings are in the church of SS Constantin and Elena at Baicoi, where his signature can be seen beside that of Nita Pereescu on the icon of St George (1853). He subsequently painted a series of icons (1854-5) at Caldarusani Monastery. In the later ensembles he was assisted by his older brother Georghe Grigorescu, who participated under his direction in the decoration of churches, such as those of the Zamfira (1856-8) and Agapia (1858-60) monasteries. In Nicolae's paintings at Agapia, classicism in Romanian art reached its highest point. The royal icons are distinguished for the elegance of the figures, both in their attitudes and in their drapery.   Related Paintings of Nicolae Grigorescu :. | Landscape | Spring | Madchen im Spiegel | Bretonischer Bettler | Young Woman with her Bundle |
Related Artists:
ESCALANTE, Juan Antonio Frias y
Spanish painter, Madrid school (b. 1633, Cordoba, d. 1670, Madrid)
ROELAS, Juan de las
Spanish painter (c. 1560-1625).
AMIGONI, Jacopo
Italian Rococo Era Painter, ca.1682-1752 He was born in Naples or Venice. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi. Starting in 1717, he is documented as working in Bavaria in the Castle of Nymphenburg (1719); in the castle of Schleissheim (1725-1729); and in the Benedictine abbey of Ottobeuren. He returned to Venice in 1726. His Arraignment of Paris hangs in the Villa Pisani at Stra. From 1730 to 1739 he worked in England, in Pown House, Moor Park and in the Theatre of Covent Garden. From there, he helped convince Canaletto to travel to England by telling him of the ample patronage available. From his travel to Paris in 1736, he met the celebrated castrato named Farinelli. Later in Madrid, he was to paint a self-portrait with the singer and entourage. He also encountered the painting of François Lemoine and Boucher. In 1739 he returned to Italy, perhaps to Naples and surely to Montecassino, in whose Abbey existed two canvases (destroyed during World War II). Until 1747, he travelled to Venice to paint for Sigismund Streit, for the Casa Savoia and other buildings of the city. In 1747 he left Italy and established himself in Madrid. There he became court painter to Ferdinand VI of Spain and director of the Royal Academy of Saint Fernando. He died in Madrid.