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

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unknow artist
European city landscape, street landsacpe, construction, frontstore, building and architecture. 118

ID: 46593

unknow artist European city landscape, street landsacpe, construction, frontstore, building and architecture. 118
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unknow artist European city landscape, street landsacpe, construction, frontstore, building and architecture. 118


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unknow artist

  Related Paintings of unknow artist :. | Portrait of J. G. Exner | Autunno | Magnum Gabriel They allow to Curtain and his wife Mary Eufrosyne | Landscape | Arab or Arabic people and life. Orientalism oil paintings 585 |
Related Artists:
Carlo Labruzzi
painted Aleksandra and Izabela Potocki taking a stroll near to lake Albano in 1779-1780
Bon Boullogne
(bapt. February 22, 1649 - May 17, 1717) was a French painter. Boullogne was born in Paris, a son of the painter Louis Boullogne;[1] he was regarded as the most gifted of his children. He took his first lessons from his father, whom he is thought to have assisted in the Grande Galerie of the Louvre. Through his father, who presented a half-length figure of St John by Bon to Jean-Baptiste Colbert, Contrôleur General des Finances, he was sent to the Academie de France in Rome as a Pensionnaire du Roi. In this capacity, he made copies of famous works, in particular some frescoes by Raphael in the Vatican Loggie, intended for reproduction as Gobelins tapestries. The period he then spent in Lombardy helped to complete his training. He studied the work of Antonio da Correggio and the Annibale Carracci, as well as Guido Reni, Domenichino and Francesco Albani. Bones painting, especially the mythological work, shows great affinities with the work of the Bolognese school, which was also to be found in the royal collections. Also of influence to Bon was Nordic art, as demonstrated in his female portraits framed by plant like motifs, a device taken up by his pupil Robert Tournieres. He died in Paris.
abstract composition
Russian painter, sculptor, designer and photographer. He was a central exponent of Russian Constructivism, owing much to the pre-Revolutionary work of Malevich and Tatlin, and he was closely involved in the cultural debates and experiments that followed the Revolution of 1917. In 1921 he denounced, on ideological grounds, easel painting and fine art, and he became an exponent of Productivism (see CONSTRUCTIVISM,






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