Italian High Renaissance Painter, 1483-1520 Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28, 1483 ?C April 6, 1520), was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.  Related Paintings of Raphael :. | In the Garden kkjkjk | Still Life with Cake | Saint George and the Dragon | Portrait of Charles III of Spain | Diana as Personification of the Night by Anton Raphael Mengs. |
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Florine Stettheimer
(August 29, 1871 - May 11, 1944) was an American artist. She has been described as "a Deco-influenced early Modernist whos never really gotten her due". Florine was born in Rochester, New York to Joseph Stettheimer and Rosetta Walter. Her father, a banker, left the family before the children were grown. She was the fourth of five children: Walter, Stella, Carrie, Florine, and Ettie. After Walter and Stella married, the youngest three immured with their mother to form an epicurean way of life.She spent much of her early life traveling, studying art in Italy, Spain, France, Germany, and Switzerland. She studied for three years in the mid-1890s at the Art Students League of New York, but came into her own artistically upon her permanent return to New York after the start of World War I. In October 1916, the only one-person exhibition of her work during her lifetime took place at New York's Knoedler & Company. She exhibited 12 "high-keyed, decorative paintings", none of which were sold. Cushioned by family resources, Stettheimer refrained from self-promotion and considered her painting "an entirely private pursuit". She intended to have her works destroyed after her death, a wish defied by her sister Ettie, her executor. Stettheimer's privileged position pervades her work. As one critic has written, "money she regarded as a birthright, decidedly not something to be flaunted in the shape of a dozen yachts, but rather to be used as a palliative against the more unpleasant aspects of the world outside... In this frame of mind, she felt free to depict life as a series of boating parties, picnics, summertime naps, parades and strolls down Fifth Avenue." She created the sets and costumes for the 1934 production of Four Saints in Three Acts, an opera by Virgil Thomson with a libretto by Gertrude Stein. Her designs, which used cellophane in innovative ways, proved to be the project for which she was best known during her lifetime. She assisted her sister Carrie in the creation of the Stettheimer Dollhouse, now in the collection of the Museum of the City of New York. The house is a whimsical depiction of an upper-class residence, filled with works by Stettheimer's artist friends, including William Zorach, Alexander Archipenko, and Gaston Lachaise.
GARCIA, Pere
Spanish painter (active 1455-1479 in Barcelona)
Jean Marc Nattier
1685-1766 French Jean Marc Nattier Gallery Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Academie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as cold. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Academie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage). The Tsar offered Nattier work at the Russian court, but the artist declined the offer. He remained in Paris for the rest of his life.