Related Paintings of unknow artist :. | johan hammer | Detail of The Family of Henry Viii | Arab or Arabic people and life. Orientalism oil paintings 60 | Bishop, Episcopal Church | River Front, New York, in Winter |
Related Artists:
Jules Joseph Lefebvre
(Tournan-en-Brie, Seine-et-Marne, 14 March 1836 - Paris, 24 February 1911) was a French figure painter. Lefebvre entered the École nationale superieure des Beaux-Arts in 1852 and was a pupil of Leon Cogniet. He won the prestigious Prix de Rome in 1861. Between 1855 and 1898, he exhibited 72 portraits in the Paris Salon. In 1891, he became a member of the French Academie des Beaux-Arts. He was an instructor at the Academie Julian in Paris. He is chiefly important as an excellent and sympathetic teacher who numbered many Americans among his 1500 or more pupils. Some of his famous students were the Scottish-born landscape painter William Hart, as long as Georges Rochegrosse, Felix Vallotton, and many more. He was long a professor at the École des Beaux-Arts. Many of his paintings are single figures of beautiful women. Among his best portraits were those of M. L. Reynaud and the Prince Imperial (1874). Among his many decorations were a first-class medal at the Paris Exhibition of 1878 and the medal of honor in 1886. He was a Commander of the Legion of Honor and a member of the Institut de France.
Maratta, Carlo
Italian Baroque Era Painter, 1625-1713 was an Italian painter of the High Baroque period, active mostly in Rome. Born in Camerano, then part of the Papal States. He came as a boy of 12 to apprentice in the studio of Andrea Sacchi. Like Sacchi, his paintings have a classicizing tone, inspired by the works of the great painters from Parma and Bologna: Carracci, Guercino, and Lanfranco. He developed a close relationship with Sacchi till the death of his master in 1661. He worked alongside Francesco Cozza, and Domenico Maria Canuti in the decoration of the Palazzo Altieri. His first prominent work is an Adoration of the Shepherds for San Giuseppe die Falegnami in 1650. He came to establish one of the most prominent art studios in Rome of his time. Other major works are the The Mystery of the Trinity Revealed to St. Augustine (c. 1655) painted for the church of Santa Maria dei Sette Dolori, The Appearance of the Virgin to St. Philip Neri (c. 1675) now in the Pitti Palace of Florence, The Virgin with Saints Carlo Borromeo and Ignatius of Loyola and Angels (c. 1685) for the church of Santa Maria in Vallicella, and The Assumption of the Virgin with Doctors of the Church (1689) for Santa Maria del Popolo, . His numerous depictions of the Virgin earned him the nickname Carluccio delle Madonne (Little Carlo of the Madonnas). The style of Maratta is a classicized Baroque, more restrained and composed than the styles of Cortona and Carracci, thus more allied to the traditions of Sacchi, Albani, and Reni. He was one of the artists favored by Giovanni Bellori. Maratta was known for his insightful portraiture. In 1650, Maratta was introduced to pope Alexander VII, who commissioned many paintings including one of his greatest works, a painting of Constantine destroying the idols for the Baptistry of the Lateran. This work brought Maratta increased fame in the Vatican, and in 1704 Maratta was knighted by pope Clement XI. Other works include an altarpiece in the San Francesco Saverio Chapel of the Church of the Gesu, in the right transept. In 1679 or 1680, a daughter, Faustina Maratti Zappi was born to Maratta by a mistress,
Pieter Aertsen
1508-1575 Flemish Pieter Aertsen Galleries Dutch painter and draughtsman, active also in the southern Netherlands. He probably trained in his native Amsterdam but early on moved to Antwerp, where he enrolled in the Guild of St Luke as a master in 1535. In 1542 he was granted citizenship of the city. Among his pupils in Antwerp were Johannes Stradanus and later Joachim Beuckelaer, a cousin of the artist wife and his most loyal follower. The earliest known work by Aertsen is a triptych with the Crucifixion (c. 1545-6; Antwerp, Maagdenhuismus.) for the van den Biest Almshouse in Antwerp. From 1550 Aertsen development can be traced through a large number of signed and dated paintings. Religious works, mostly intended for churches, must have formed an important part of Aertsen output. His early paintings seem to have been strongly influenced by other Antwerp artists, as can be seen in the van den Biest triptych, where the figures are close to those in Jan Sanders van Hemessen background scenes. Van Hemessen influence is also strong in the pair of triptychs showing the Seven Sorrows of the Virgin and the Seven Joys of the Virgin (the latter dated 1554; both Zoutleeuw, St Leonard).