Swedish 1860-1920 Swedish painter, etcher and sculptor. He was brought up by his grandparents at Mora. As he displayed a precocious talent for drawing he was admitted to the preparatory class of the Kungliga Akademi for de Fria Konsterna, Stockholm, at the age of 15. Dissatisfied with the outdated teaching and discipline of the Academy and encouraged by his early success as a painter of watercolour portraits and genre scenes (e.g. Old Woman from Mora, 1879; Mora, Zornmus.) Zorn left the Academy in 1881 to try to establish an international career. He later resided mainly in London but also travelled extensively in Italy, France, Spain, Algeria and the Balkans and visited Constantinople. However, he continued to spend most of his summers in Sweden.  Related Paintings of Anders Zorn :. | In Scotland (Mrs. Symons) | Erik Axel Karlfeldt i Zorngardens matsal | Drottning Sophia | daiduscha | Kaikroddare |
Related Artists:
Simon Ushakov
1626 - 1686) was a leading Russian graphic artist of the late 17th-century. Together with Fyodor Zubov and Fyodor Rozhnov, he is associated with the comprehensive reform of the Russian Orthodox Church undertaken by Patriarch Nikon. We know almost nothing about the early years of Simon Ushakov. His birth date is deduced from his inscription on one of the icons: In the year 7166 painted this icon Simon Ushakov son, being 32 years of age. At 22 he became a paid artist of the Silver Chamber, affiliated with the Armory Prikaz. The bright, fresh colours and exquisite, curving lines of his proto-baroque icons caught the eye of Patriarch Nikon, who introduced Simon to the tsar Alexei Mikhailovich. He became a great favourite with the royal family and was eventually (1664) assigned to the Kremlin Armoury, run by an educated boyar Bogdan Khitrovo.
Alexandre-Gabriel Decamps
(March 3, 1803 - August 22, 1860) was a French painter. He was born in Paris. In his youth he travelled in the East, and reproduced Oriental life and scenery with a bold fidelity to nature that puzzled conventional critics. His powers, however, soon came to be recognized, and he was ranked along with Delacroix and Vernet as one of the leaders of the French school. At the Paris Exhibition of 1855 he received the grand or council medal. Most of his life was passed in the neighborhood of Paris. He was fond of animals, especially dogs, and indulged in all kinds of field sports. He died in 1860 in consequence of being thrown from a horse while hunting at Fontainebleau. Decamps' style was characteristically and intensely French. It was marked by vivid dramatic conception, bold and even rough brushstrokes, and startling contrasts of color and of light and shade. His subjects embraced an unusually wide range. He availed himself of his travels in the East in dealing with scenes from Scripture history, which he was probably the first of European painters to represent with their true and natural local background. Of this class were his Joseph sold by his Brethren, Moses taken from the Nile, and his scenes from the life of Samson, nine vigorous sketches in charcoal and white. Perhaps the most impressive of his historical pictures is Defeat of the Cimbri, representing the conflict between a horde of barbarians and a disciplined army. Decamps produced a number of genre pictures, chiefly scenes from French and Algerian domestic life, the most marked feature of which is humour. The same characteristic attaches to many of his numerous animal paintings; Decamps was especially fond of painting monkeys. His well-known painting The Monkey Connoisseurs satirizes the jury of the French Academy of Painting, which had rejected several of his earlier works on account of their divergence from any known standard.
Giovanni da san giovanni
1592-1636 Italian painter and draughtman. He was the most distinguished of the artists working in fresco in 17th-century Florence. An eccentric personality, he was attracted by the charm and informality of northern art and by a satirical approach to Classical themes. He went to Florence in 1608 to study in the workshop of Matteo Rosselli, where he learnt both fresco and oil painting techniques and drew extensively (Baldinucci). In 1615 he painted two ceiling canvases of Putti Supporting the Impresa of Michelangelo for a room in the Casa Buonarroti and in the same period frescoed the dome of the church of the Ognissanti, Florence (completed 1615), with a choir of musician angels. He also painted five lunettes showing scenes from the Life of St Francis in the cloister (completed 1619; in situ). In 1616 his frescoed decoration of an Allegory of Florence (destr.; preparatory drawing, Florence, Uffizi, G.D.S. U. 1122F) on the fa?ade of Cosimo II de' Medici's house in Piazza della Calza won him unexpected and lasting fame. His early works also included several tabernacles, made for patrons in the town and in the surrounding countryside. The Virgin and Child with Saints