Italian painter, Venetian school (b. 1490, Pieve di Cadore, d. 1576, Venezia).   Related Paintings of TIZIANO Vecellio :. | Pope Paul III with his Nephews Alessandro and Ottavio Farnese ar | Polyptych of the Resurrection | Danae | Tarquin et Lucrece | Pauli conversion |
Related Artists:
Jean-Francois De Troy
French 1679-1752 Jean-Francois De Troy Gallery Jean François de Troy was born on January 27, 1679 in Paris. The successful career of Jean François de Troy was based initially on large historical and allegorical compositions, such as Time Unveiling Truth (1733) in the National Gallery, London, but he is now most highly regarded for his smaller and more spirited scenes of elegant social life. They are among the best of those that rode on the wave of Watteau's success??indeed The Alarm, or the Gouvernante Fid??le (Victoria and Albert Museum, London, 1723) was attributed to Watteau in the 19th century. A versatile artist, he made tableaux de modes famous, painting histories and mythologies in a colourful and fluent manner which owed something to both Veronese and Peter Paul Rubens. He undertook commissions for Versailles and Fontainebleau between 1724 and 1737, and designed two sets of tapestries for the Gobelins, each of seven subjects, the Histoire d'Esther (1737-40) and the Histoire de Jason (1743-6). In 1738 he was appointed Director of the French Academy in Rome, and spent the rest of his life there. De Troy's wife died prematurely, and he lost of all his seven children. Jean François de Troy died on January 26, 1752 in Rome.
Henri-Pierre Picou
(27 February 1824 - 17 July 1895) was a French painter born in Nantes.His oeuvre began with portraits and classical historical subject matter but he later moved on to allegorical and mythological themes.He was an academic painter and one of the founders of the Neo-Grec school, along with his close friends Gustave Boulanger, Jean-L??on G??rôme, and Jean-Louis Hamon, also academic painters. All of them studied in the workshops of both Paul Delaroche and later Charles Gleyre. Picou's style was noticeably influenced by Gleyre. While the rest of the group generally painted classical and mythological subjects, Picou also received commissions for large religious frescoes from many churches, including the Église Saint-Roch. His artistic debut was at the Salon in 1847. The next year he was awarded a second-class medal for his painting, Cl??opâtre et Antoine sur le Cydnus. Also known as Cleopatra on the Cydnus, it is commonly regarded as Picou's masterpiece. This showing at the Salon in 1848 was written about by the critic Th??ophile Gautier, who felt that the subject matter was too ambitious, but also said that "As it is, it gives the best hope for the future of the young artist, and ranks among the seven or eight most important paintings of the Salon.In 1875 the painting was exhibited in New York, and afterward found lodgment on the walls of a private art gallery in San Francisco.Picou maintained a large workshop in Paris on the Boulevard de Magenta, which provided him room to work on his expansive frescoes. His popularity continued to rise and he went on to win the Second Prix de Rome in 1853 for his painting, J??sus chassant les vendeurs du Temple (The Moneylenders Chased from the Temple), and another second-class medal for his Salon painting in 1857. From his debut in 1847, he was a regular at the Salon, showing almost every year until his final exhibit in 1893.He has been called the most fashionable painter towards the close of the Second French Empire
Angelico Fra
Italian painter, illuminator and Dominican friar. He rose from obscure beginnings as a journeyman illuminator to the renown of an artist whose last major commissions were monumental fresco cycles in St Peter and the Vatican Palace, Rome. He reached maturity in the early 1430s, a watershed in the history of Florentine art. None of the masters who had broken new ground with naturalistic painting in the 1420s was still in Florence by the end of that decade. The way was open for a new generation of painters, and Fra Angelico was the dominant figure among several who became prominent at that time, including Paolo Uccello, Fra Filippo Lippi and Andrea del Castagno. By the early 1430s Fra Angelico was operating the largest and most prestigious workshop in Florence. His paintings offered alternatives to the traditional polyptych altarpiece type and projected the new naturalism of panel painting on to a monumental scale. In fresco projects of the 1440s and 1450s, both for S Marco in Florence and for S Peter's and the Vatican Palace in Rome, Fra Angelico softened the typically astringent and declamatory style of Tuscan mural decoration with the colouristic and luminescent nuances that characterize his panel paintings. His legacy passed directly to the second half of the 15th century through the work of his close follower Benozzo Gozzoli and indirectly through the production of Domenico Veneziano and Piero della Francesca. Fra Angelico was undoubtedly the leading master in Rome at mid-century, and had the survival rate of 15th-century Roman painting been greater, his significance for such later artists as Melozzo da Forli and Antoniazzo Romano might be clearer than it is.