Related Paintings of unknow artist :. | Smugglers in the Tatra Mountains | Liselotte von der Pfalz | The Figure of Christ | Still life floral, all kinds of reality flowers oil painting 46 | European city landscape, street landsacpe, construction, frontstore, building and architecture. 308 |
Related Artists:
Miguel Cabrera
(1695-1768) was an indigenous Zapotec painter during the Viceroyalty of New Spain, today's Mexico. During his lifetime, he was recognized as the greatest painter in all of New Spain. He was born in Antequera, today's Oaxaca, Oaxaca, and moved to Mexico City in 1719. He may have studied under the Rodreguez Juerez brothers or Jose de Ibarra. Cabrera was a favorite painter of the Archbishop and of the Jesuit order, which earned him many commissions. His work was influenced by Bartolome Esteban Murillo and the French painting of his time. While Miguel is most famous for his Casta paintings and his portrait of the poet Sor Juana, he also executed one of the first portraits of St. Juan Diego. In 1752 he was permitted access to the icon of Our Lady of Guadalupe to make three copies: one for Archbishop Jose Manuel Rubio y Salinas, one for the Pope, and a third to use as a model for further copies. In 1756 he created an important early study of the icon of Our Lady of Guadalupe, Maravilla americana y conjunto de raras maravillas observadas con la direccien de las reglas del arte de la pintura The essential purpose of Maravilla Americana was to affirm the 1666 opinions of the witnesses who swore that the image of the Virgin was of a miraculous nature. However, he also elaborated a novel opinion: the image was crafted with a unique variety of techniques. He contended that the Virgin's face and hands were painted in oil paint, while her tunic, mandorla, and the cherub at her feet were all painted in egg tempera. Finally, her mantle was executed in gouache. He observed that the golden rays emanating from the Virgin seemed to be of dust that was woven into the very fabric of the canvas, which he asserted was of "a coarse weave of certain threads which we vulgarly call pita," a cloth woven from palm fibers. In 1753, he founded the second Academy of Painting in Mexico City and served as its director.
Francesco Albani
(March 17 or August 17, 1578 COctober 4, 1660) was an Italian Baroque painter. Born at Bologna, his father was a silk merchant who intended to instruct his son in the same trade; but by age twelve, Albani became an apprentice under the competent mannerist painter Denis Calvaert, where he met Guido Reni. Soon he followed Reni to the so-called "Academy" run by the Carracci family: Annibale, Agostino, and Ludovico. This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi, Pietro Faccini, Remigio Cantagallina, and Reni. In the year 1600, Albani moved to Rome to work in the fresco decoration of the gallery of the Palazzo Farnese, being completed by the studio of Annibale Carracci. Rome, under Clement VIII Aldobrandini (1592-1605) was exhibiting some degree of administrative stability and renewed artistic patronage. While pope Clement was born from a Florentine family residing in Urbino, his family was allied by marriage to the Emilia-Romagna and the Farnese, since Ranuccio I Farnese, Duke of Parma had married Margherita Aldobrandini. Parma, like Bologna, are part of the Region of Emilia-Romagna. Thus it was not surprise that Cardinal Odoarde Farnese, Ranuccio's brother, chose the Carraccis from Bologna for patronage, thereby establishing Bolognese predominance of Roman fresco painting for nearly two decades.
Frederick Stuart Church
Painter , Illustrator and Artist . American , 1842-1924 was an American artist, working mainly as an illustrator and especially known for his (often allegorical) depiction of animals. He was born in Grand Rapids, Michigan. His father was an important figure in politics as well as a well-known lawyer. At the age of 13 he left school and took a job at the then newly-established American Express Company in Chicago, with his parents intending him to have a business career. Being nineteen at the outbreak of the Civil War he served in the Union Army. After his discharge he returned to Chicago, having decided to devote his life to art, and started studying drawing under Walter Shirlaw at the city's Academy of Design. In 1870 he took the decision to continue his studies in New York City, which became his home for the rest of his life. He enrolled at the National Academy of Design, where he was taught by Lemuel Wilmarth. He joined the Art Students League, headed by his old teacher Walter Shirlaw, in which he remained involved for the rest of his life. Unlike many other Americans of his time who felt themselves to be living in a cultural backwater, Church - while he did think that an artist needed to be formally taught - saw no need to study art in Europe and in fact only crossed the Atlantic late in his life. He often expressed outspoken pride in original American art and declaring that "foreign art" had "little to teach Americans". This might be a reflection of the attitudes taken by the strong nativist movements active during his young age, among other places in Chicago when he lived there.