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

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Overbeck, Johann Friedrich
The Miracle of the Roses of Saint Francis of Assisi

ID: 19730

Overbeck, Johann Friedrich The Miracle of the Roses of Saint Francis of Assisi
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Overbeck, Johann Friedrich The Miracle of the Roses of Saint Francis of Assisi


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Overbeck, Johann Friedrich

German Painter, 1789-1869 German religious painter. Expelled from the Vienna Academy because of his opposition to its classicism, he went to Rome and with Peter von Cornelius, Veit, Schadow-Godenhaus, and others, formed the group known as the Nazarenes. His first real successes were his frescoes for the Casa Bartholdy (now in Berlin) and for the Villa Massimo. Among his notable paintings are Christ's Entry into Jerusalem and Christ's Agony in the Garden. Overbeck sought to make his art serve religion.   Related Paintings of Overbeck, Johann Friedrich :. | The Miracle of the Roses of Saint Francis of Assisi | Trocknende Wasche | The Triumph of Religion in the Arts | The Painter Franz Pforr | Italia and Germania (shulamith and Mary) (mk09) |
Related Artists:
CRAYER, Gaspard de
Flemish painter (b. 1584, Antwerpen, d. 1669, Ghent)
A. Bryan Wall
American, 1872-1937
Valentin Aleksandrovich Serov
Russian Painter, 1865-1911 Russian painter, graphic artist and stage designer. As a child he lived in St Petersburg, but he made frequent trips abroad. In 1874 he travelled to Paris with his mother and frequented the studio of the Russian Realist painter, Il'ya Repin. In 1875 the art patron Savva Mamontov invited Serov and his mother to settle at ABRAMTSEVO outside Moscow, where he again had the opportunity to study under Repin and to meet other artists in the Mamontov circle. The Symbolist paintings of Mikhail Vrubel' and the late Impressionist landscapes and figure studies of Konstantin Korovin he saw at Abramtsevo had a lasting influence on the young Serov. From 1880 to 1885 he studied at the Academy of Art, St Petersburg, under Pavel Chistyakov (1832-1919). During the 1880s Serov also travelled abroad and became aware of French Impressionism. He began to use bright colours in portraits of figures seen in dappled sunlight and shade, as in his portrait of Vera Mamontov, Girl with Peaches (1887) and a portrait of Mariya Simonovich, Girl in Sunlight (1888; both Moscow, Tret'yakov Gal.).






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