Italian Mannerist Painter, 1503-1572 Agnolo di Cosimo (November 17, 1503 ?C November 23,1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects. It has been claimed by some that he had dark skin as a symptom of Addison disease, a condition which affects the adrenal glands and often causes excessive pigmentation of the skin.  Related Paintings of Agnolo Bronzino :. | Laura Battiferri (mk45) | Lucrezia Panciatichi | Portrat des Ugolino Martelli | Portrat des Ugolino Martelli | Bartolomeo Panciatichi |
Related Artists:
Moses, Grandma
1948 Oil on pressed wood.
Pavel Fedotov
1815-1852 Realism Russian Russian painter and draughtsman. He was noted for his satirical critique of Russian life of the mid-19th century. He attended the First Moscow Military School (1826-33), then served in St Petersburg in the Finnish Regiment Life-Guards. While earning a reputation as an honest and hard-working officer, he drew a great deal, played the flute and took part in amateur theatrical performances. Having become established as the regimental artist, in 1834 he began to attend evening classes at the St Petersburg Academy of Arts. In November 1843, after a long period of doubt, he resigned his commission in the army in order to become a professional artist. He began to attend the Academy regularly and joined the battle-painting class of Aleksander Zauerveid (1783-1844),
ES, Jacob van
Flemish painter (b. ca. 1596, Antwerpen, d. 1666, Antwerpen) Flemish painter. Together with Osias Beert and Clara Peeters, he was one of the leading representatives of the archaizing trend in Flemish still-lifes. His birthplace is known from the text on an engraving by Wenceslaus Hollar after a painting by Jan Meyssens (1612-70). Van Es became a master in Antwerp in 1617 but did not join the Guild of St Luke until 1645. Jacob Gillis and Jan van Thiene were his pupils in 1621 and 1623 respectively. He enjoyed a certain esteem among fellow artists, for Jacob Jordaens, Cornelis Schut the elder and Deodaat del Monte were godfathers to his children. Numerous mentions of works by van Es in inventories of 17th-century Antwerp collectors further testify to his success