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c. 1445 – May 17, 1510. Italian painter.

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Pietro da Cortona
The Nativity and the Adoration of the Shepherds

ID: 28653

Pietro da Cortona The Nativity and the Adoration of the Shepherds
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Pietro da Cortona The Nativity and the Adoration of the Shepherds


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Pietro da Cortona

1596-1669 Italian Pietro da Cortona Galleries Italian painter, draughtsman and architect. He was, together with Gianlorenzo Bernini and Franceso Borromini, one of the three leading artists of the Roman Baroque. As a painter he developed the early Baroque style, initiated by Annibale Carracci, to a magnificent and imposing High Baroque. His fresco decorations set a standard for European Baroque painting until they were eclipsed by Giambattista Tiepolo's works and those of other Venetian masters of the 18th century. As an architect Cortona was far less influential. His imaginative designs for fa?ades and stucco decorations were, however, conclusive and independent solutions to problems central to Roman Baroque architecture.   Related Paintings of Pietro da Cortona :. | Nativity of the Virgin (mk05) | Marcello Sacchetti | Ratto delle Sabine | Landing of the Trojans at the Mouth of Tiberis | Nativity of the Virgin |
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William Williams
English-born American Colonial Era Painter, 1727-1791 was an American painter. He was born in Caerphilly, Wales. He began residing in Philadelphia around 1747 and afterwards in New York City before returning to England about 1780, where he died in Bristol
Anton Wilhelm Tischbein
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thomas creswick
Thomas Creswick (5 February 1811 - 28 December 1869) was an English landscape painter and illustrator, born in Sheffield, son of Thomas Creswick and Mary Epworth and educated at Hazelwood, near Birmingham. At Birmingham he first began to paint. His earliest appearance as an exhibitor was in 1827, at the Society of British Artists in London; in the ensuing year he sent to the Royal Academy the two pictures named Llyn Gwynant, Morning, and Carnarvon Castle. About the same time he settled in London; and in 1836 he took a house in Bayswater. He soon attracted some attention as a landscape painter, and had a career of uniform and encouraging, though not signal success. In 1842 he was elected an associate, and in 1850 a full member of the Royal Academy, which, for several years before his death, numbered hardly any other full members representing this branch of art. In his early practice he set an example, then too much needed, of diligent study of nature out of doors, painting on the spot all the substantial part of several of his pictures. English and Welsh streams may be said to have formed his favourite subjects, and generally British rural scenery, mostly under its cheerful, calm and pleasurable aspects, in open daylight. This he rendered with elegant and equable skill, color rather grey in tint, especially in his later years, and more than average technical accomplishment; his works have little to excite, but would, in most conditions of public taste, retain their power to attract. Creswick was industrious and extremely prolific; he produced, besides a steady outpouring of paintings, numerous illustrations for books. He was personally genial, a dark, bulky man, somewhat heavy and graceless in aspect in his later years. He died at his house in Bayswater, Linden Grove, after a few years of declining health. Among his principal works may be named England (1847); Home by the Sands, and a Squally Day (1848); Passing Showers (1849); The Wind on Shore, a First Glimpse of the Sea, and Old Trees (1850); A Mountain Lake, Moonrise (1852); Changeable Weather (1865); also the London Road, a Hundred Years ago; The Weald of Kent; the Valley Mill (a Cornish subject); a Shady Glen; the Windings of a River; the Shade of the Beech Trees; the Course of the Greta; the Wharfe; Glendalough, and other Irish subjects, 1836 to 1840; the Forest Farm Frith for figures, and Ansdell for animals, occasionally worked in collaboration with Creswick.






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