Related Paintings of unknow artist :. | Konig Ludwig XVI. (1754-1793) von Frankreich im Kronungsornat | Arab or Arabic people and life. Orientalism oil paintings 116 | Arrival of Burke and Wills at Flinders River, | The Madonna and child with the infant saint john the baptist | Joachim Murat avec le collier de l'Ordre des Deux-Siciles |
Related Artists:
Basawan
Indian Miniaturist, active ca.1556-1600,Indian miniature painter. One of the great talents to flourish under the emperor Akbar (reg 1556-1605), he was a prolific painter who contributed to virtually all the great illustrated manuscripts executed in the imperial workshops over a span of some 40 years. While most Mughal artists were concerned with the importance of line, colour and surface pattern, Basawan, with a greater understanding of the techniques of imported European works, developed a palette closer to that of European oil painting and dissolved outlines to create greater three-dimensionality. In his work, surface patterns are subservient to a dramatic spatial penetration of the picture plane. These traits were quite new within both Indian and Islamic traditions, and Basawan led the vanguard in adopting them. His work is remarkable also for the complexity of his compositions, his skill at giving roundness and density to his figures and his sensitive portrait-like faces.
Pierre-Auguste Cot
French 1837-1883 Pierre-Auguste Cot Locations He was born in B??darieux, and initially studied at l Ecole des Beaux-Arts in Toulouse before going to Paris. He studied under Leon Cogniet, Alexandre Cabanel and William-Adolphe Bouguereau. From the 1870s, his popularity grew quickly. In 1874 he was made Chevalier of the Legion of Honour. He created several works of lasting popularity, including Le Printemps, featuring two young lovers sitting upon a swing, and The Storm. Both these paintings were until recently on display at the Metropolitan Museum of Art in New York City; The Storm belongs to the museum while Le Printemps is owned privately. Cot also was renowned for his portraits, which made up the majority of his work. The more enduring figurative work, such as The Storm, is comparatively rare.
Carlo Saraceni
1580-1620 Italian Carlo Saraceni Galleries Carlo Saraceni (Venice 1579-Venice, 16 June 1620) was an Italian early-Baroque painter, whose reputation as a "first-class painter of the second rank" was improved with the publication of a modern monograph in 1968. Though he was born in Venice, his paintings are distinctly Roman in style; he moved to Rome in 1598, joining the Accademia di San Luca in 1607. He never visited France, though he spoke fluent French and had French followers and a French wardrobe. His painting, however, was influenced at first by the densely forested, luxuriantly enveloping landscape settings for human figures of Adam Elsheimer, a German painter resident in Rome; "there are few landscapes by Saraceni which have not been attributed to Elsheimer," Malcolm Waddingham observed, and Anna Ottani Cavina has suggested the influences may have travelled both ways. and Elsheimer's small cabinet paintings on copper offered a format that Saraceni employed in six landscape panels illustrating The Flight of Icarus; in Moses and the Daughters of Jethro and Mars and Venus. Saint Sebastian Castle Museum, PragueWhen Caravaggio's notorious Death of the Virgin was rejected in 1606 as an altarpiece suitable for a chapel of Santa Maria della Scala, it was Saraceni who provided the acceptable substitute, which remains in situ, the only securely dated painting of his first decade in Rome. He was influenced by Caravaggio's dramatic lighting, monumental figures, naturalistic detail, and momentary action (illustration, right), so that he is numbered among the first of the "tenebrists" or "Caravaggisti". Examples of this style can be seen in the candlelit Judith and the Head of Holofernes. Saraceni's matured rapidly between 1606 and 1610, and the next decade gave way to his fully mature works, synthesizing Caravaggio and the Venetians. In 1616?C17 he collaborated on the frescoes for the Sala Regia of the Palazzo del Quirinale. In 1618 he received payment for two paintings in the church of Santa Maria dell'Anima. The compositional details of his fresco of The Birth of the Virgin in the Chapel of the Annunciation of the church of Santa Maria in Aquiro are repeated in a panel on copper at the Louvre In 1620 he returned to Venice, where he died in the same year. He was so influential on the style of an anonymous still life painter working in Rome, that the man is known as "Pensionante del Saraceni"