Sandro Botticelli
Sandro Botticelli's Oil Paintings
Sandro Botticelli Museum
c. 1445 – May 17, 1510. Italian painter.

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Peter Purves Smith
Mother and Child

ID: 82317

Peter Purves Smith Mother and Child
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Peter Purves Smith Mother and Child


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Peter Purves Smith

Peter Purves Smith (26 March 1912 - 23 July 1949), born Charles Roderick Purves Smith, was an Australian painter. Born in Melbourne, Purves Smith studied at the Grosvenor School of Modern Art in London and under progressive art teacher George Bell in Melbourne.  Related Paintings of Peter Purves Smith :. | The Park | French Cafe | Three Men | Vase with flowers | Woman |
Related Artists:
Bartolomeo Altomonte
Bartolomeo Altomonte, also known as Bartholomäus Hohenberg (24 February 1694 - 11 November 1783), was an Austrian baroque painter who specialized in large scale frescoes. He was the son of Martino Altomonte, also a painter.
Jacopo Vignali
Italian painter who died on 03 August 1664 Italian painter. At an early age he entered the studio of Matteo Rosselli in Florence, and his first works, Virgin and Saints (1616; Florence, S Brigida, Santuario della Madonna del Sasso) and the ceiling painting Love of the Fatherland (1616; Florence, Casa Buonarroti), were influenced by Rosselli and Ludovico Cigoli. In 1616 he enrolled at the Accademia del Disegno in Florence, becoming an academician in 1622. In the 1620s he moved away from Rosselli's influence and developed a style distinguished by dramatic light effects, rich colour and painterly technique and by the expression of deep emotion. The decade opened with the Investiture of St Benedict (1620; Florence, Semin. Maggiore), one of a series of works painted in honour of St Benedict for the Confraternit? di S Benedetto Bianco, to which Vignali had belonged since 1614. Having learnt the technique of fresco painting from Rosselli, he also began to work in that medium and was involved in the decoration of the Casa Buonarroti throughout the decade, the ceiling fresco Jacob's Dream dating from 1621.
Albert Weisgerber
German, 1878-1915 German painter and printmaker. He studied decoration at the Kreisbaugewerksschule in Kaiserlautern (1891-3) and began work in a decorator studio in Frankfurt am Main. However, in 1894 he moved to Munich to resume his studies, first at the Kunstgewerbeschule and later under Franz von Stuck at the Akademie der Bildenden Kenste (1897-1901). For some years he concentrated on poster design and book illustration, contributing a total of 500 drawings to Jungend: Illustrierte Wochenschrift for Kunst und Leben from 1899. His early paintings such as the portrait of Ludwig Scharf II (c. 1905; Munich, Staatsgal. Mod. Kst) were executed in dark-toned academic style, but an exhibition of French Impressionism in Berlin in 1905 so impressed him that he went to Paris for nearly a year (until May 1906). Despite his association with the circle of artists around Matisse, he was more influenced by the work of Cezanne. In 1907 he made a second visit to Paris and joined Phalanx in 1909. In the latter year he was visited by Hans Purrmann and Matisse. By 1911 with a third visit to Paris and travels to Rome and Naples, he had established himself as one of the foremost German Impressionists. As well as such lyrical scenes as Munich Hofgarten (1911; Munich, Lenbachhaus), in common with many of his German contemporaries, Weisgerber reconceived classical scenes in an energetic style, for example in Amazon Camp (1910; Stuttgart, Staatsgal.). In 1912 he had a one-man show in the Kunsthaus, Zurich, and a year later participated in the annual Kunstausstellung in Munich. Although using an Impressionist style, he was equally at home in Expressionist circles, and this undoubtedly influenced his election to the presidency of the Neuen Menchner Sezession (1913). In the last four years of his career he was obsessed with sacrificial subject-matter from the Old and New Testaments, which he had originated in the theme of St Sebastian (e.g. St Sebastian Felled by Arrows, 1910; Munich, Staatsgal. Mod. Kst). While not exclusively tragic (e.g. David and Goliath, 1914; Saarbrecken, Saarland-Mus.), these final works strip away historical references to concentrate upon the fate of the isolated individual, as in Absalom (1914; Hamburg, Ksthalle).






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