Italian Rococo Era Painter, 1675-1741 Italian painter. With Sebastiano Ricci and Jacopo Amigoni he was the most important Venetian history painter of the early 18th century. By uniting the High Renaissance style of Paolo Veronese with the Baroque of Pietro da Cortona and Luca Giordano, he created graceful decorations that were particularly successful with the aristocracy of central and northern Europe. He travelled widely, working in Austria, England, the Netherlands, Germany and France.   Related Paintings of PELLEGRINI, Giovanni Antonio :. | Allegory of Sculpture sg | Rebecca at the Well | Rebecca at the Well | Allegory of Painting ag | Mucius Scevola before Porsenna |
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Andrea Soldi
Italian C1703-1771 Italian painter. George Vertue, the only source for Soldi's earliest years, described him in 1738 as a Florentine aged 'about thirty-five or rather more' who had been in England 'about two years'. He had previously been in the Middle East, where he painted some British merchants of the Levant Company who had advised him to go to London. Two three-quarter-length portraits called Thomas Sheppard (1733 and 1735-6; ex-art market, London, 1917 and 1924, see Ingamells, 1974) belong to this period. In London Soldi enjoyed considerable success in the period between 1738 and 1744; Vertue reported that he began 'above thirty portraits' between April and August 1738. He was extensively patronized by the 2nd and 3rd Dukes of Manchester (eight portraits, sold Kimbolton Castle, Cambs, 18 July 1949), the 3rd Duke of Beaufort (four portraits at Badminton House, Glos) and the 4th Viscount Fauconberg (eight portraits at Newburgh Priory, N. Yorks). The seated three-quarter-length of Isabella, Duchess of Manchester, as Diana (1738; London, Colnaghi's, 1986) and the informal full-length of Lord Fauconberg (c. 1739; Newburgh Priory, N. Yorks) exemplify his lively handling, strong colour and theatrical, Italianate imagination. In a less extravagant vein, the Duncombe Family (1741; priv. col., see Ingamells, 1974), a conversation piece of some charm, and the Self-portrait (1743; York, C.A.G.) suggest a versatile talent. Soldi's bravura contrasted with contemporary English portrait practice, then wavering between the sober manner of Kneller and a playful Rococo, and his attraction for Italianate Englishmen was obvious. He was rivalled only by Jean-Baptiste van Loo, who was in London between 1737 and 1742; both artists painted the dealer Owen McSwiny and the poet Colley Cibber about 1738. He far outclassed his Italian rivals, the Cavaliere Rusca (1696-1769), who worked in London from 1738 to 1739, and Andrea Casali, who was in London from 1741 to 1766.
Louis Jean Francois Lagrenee
(December 30, 1724 - June 19, 1805) was a French painter, a pupil of Carlo Vanloo. His younger brother Jean-Jacques Lagren??e was also a painter. Lagrenee was born in Paris. In 1755 he became a member of the Royal Academy, presenting as his diploma picture the Rape of Deianira (Louvre). He visited Saint Petersburg at the call of the empress Elizabeth, and on his return was named in 1781 director of the French Academy in Rome, a position he kept until 1787. He there painted the Indian Widow, one of his best-known works. In 1804 Napoleon conferred on him the cross of the l??gion d'honneur, and on June 19, 1805 he died in the Louvre, of which he was honorary keeper.
LAMA, Giulia
Italian painter, Venetian school (1681-1747).