Italian Expressionist Painter and Sculptor, 1884-1920 Amedeo Clemente Modigliani (July 12, 1884 ?C January 24, 1920) was an Italian artist of Jewish heritage, practicing both painting and sculpture, who pursued his career for the most part in France. Modigliani was born in Livorno (historically referred to in English as Leghorn), in northwestern Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and art movements, and by primitive art, Modigliani's œuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis, exacerbated by poverty, overworking, and an excessive use of alcohol and narcotics, at the age of 35.  Related Paintings of Amedeo Modigliani :. | Hanka Zborowska | Portrait of Jeanne Hebuterne | Portrait of Jeanne hebuterne iwth large hat | Portrat der Magherita | Jeanne Hebuterne assise (mk38) |
Related Artists:
Oostsanen, Jacob Cornelisz van
Flemish, 1472-1533
William Gershom Collingwood
artist and historian, (1854-1932) was an author, artist, antiquary and was also Professor of Fine Arts at the Reading University. He was born in Liverpool. In 1872, he went to University College, Oxford, where he met John Ruskin. During the summer of 1873 Collingwood visited Ruskin at Brantwood, Coniston. Two years later Collingwood was working at Brantwood with Ruskin and his associates. Ruskin admired his draughtsmanship, and so Collingwood studied at the Slade School of Art between 1876 and 1878. He exhibited at the Royal Academy in 1880. For many years Collingwood dedicated himself to helping Ruskin, staying at Brantwood as Ruskin's assistant and travelling with him to Switzerland. In 1883 he married Edith Mary Isaac (1857C1928) and settled near to Ruskin in the Lake District. Collingwood edited a number of Ruskin's texts and published a biography of Ruskin in 1893. In 1896, Arthur Ransome met the Collingwoods and their children, Dora (later Mrs Ernest Altounyan), Barbara (later Mrs Oscar Gnosspelius), Ursula, and Robin (the later historian and philosopher). Ransome learned to sail in Collingwood's boat, Swallow, and became a firm friend of the family, even proposing marriage to both Dora and Barbara (on separate occasions). After a summer of teaching Collingwood's grandchildren to sail in Swallow II in 1928, Ransome wrote the first book in his Swallows and Amazons series. He used the names of some of Collingwood's grandchildren for his characters, the Swallows. By the 1890s Collingwood had become a skilled painter and also joined the Cumberland and Westmorland Antiquarian and Archaeological Society. He wrote a large number of papers for its Transactions; becoming editor in 1900. Collingwood was particularly interested in Norse lore and the Norsemen, and he wrote a novel, Thorstein of the Mere which was a major influence on Arthur Ransome. Collingwood was a member of the Viking Club and served as its president. His study of Norse and Anglican archaeology made him widely recognized as a leading authority. Following Ruskin's death Collingwood continued to help for a while with secretarial work at Brantwood, but in 1905 went to University College, Reading and served as professor of fine art from 1907 until 1911.
Felix Maria Diogg
(b Andermatt, 1 July 1762; d Rapperswil, Schwyz, 19 Feb 1834). Swiss painter. From 1782 he was a pupil of Johann Melchior Wyrsch in Besanion, under whom he developed the essential aspects of his portrait style. He also studied further in Rome and Naples from 1786 to 1788. He was capable of executing bright, incisive portraits in the manner of Angelica Kauffman, as in Portrait of an Artist or psychological studies, best seen in Ulysses von Salis-Marschlins. Several of his group portraits, such as the Esslinger Family, show the influence of Italian and British painting, with which he seemed to be familiar. He was a friend of Johann Kaspar Lavater, discoursed with Goethe and enjoyed the company of the Swiss historian Johannes von Miller (1752-1809), whose portrait he painted. His portraits are generally bust-length types set against a solid, dark background. This format was favoured by his Swiss clientele and is seen in Burgomaster Heinrich Krauer (1799; Lucerne, Kstmus.), which also reveals the dignified wooden pose frequently selected by his models. His direct, fashionable treatment of the sitter attracted a wide range of clients from all levels of society. He seemed to be as much at ease painting the Empress of Russia, Yelisaveta Alekseyevna (1814; Karlsruhe, Staatl. Ksthalle) as he was portraying the bourgeoisie of central Switzerland.