(Russian:29 October [O.S. 17 October] 1861 - 10 May [O.S. 27 April] 1904) was a Russian painter. His major works were devoted to life of ordinary Russians of the 17th century. Andrey Petrovich Ryabushkin was born in the village Stanichnaya sloboda, Borisoglebskiy uezd, Tambov gubernia in 1861. His father and brother were icon painters, and he started to help them from his early childhood. At 14 years old he became an orphan. A student of Moscow School of Painting, Sculpture and Architecture A. Kh. Preobrazhensky, who spent the summer in the village, happened to see the boyes drawings and was greatly impressed by them. He started to give him lessons and helped him to enter the Moscow School of Painting, Sculpture and Architecture. Ryabushkin was one of the youngest student of the school at all times. Ryabushkin stayed for seven years (1875-82) in the Moscow School, learning from Vasily Perov and Illarion Pryanishnikov. His first large work Peasant Wedding was bought by Pavel Tretyakov in 1880. After the death of Vasiliy Perov, Ryabushkin moved to Saint Petersburg in 1882, and entered the Imperial Academy of Arts where he learned from Pavel Chistyakov. The classes soon disappointed him, however, and he began to spend more and more time either in the library of the academy or sketching in the streets. His studies at the academy came to an end in 1892. He did not receive an award for his diploma work, Descent from the Cross, as was expected, because he did not follow the approved project. But the work was so good that the president of the academy, Grand Duke Vladimir Konstantinovich, provided Ryabushkin with a stipend for travel and studies abroad from his own means. Instead of going to Italy or Paris, Ryabushkin chose to make a tour of ancient Russian towns (Novgorod, Kiev, Moscow, Uglich, Yaroslavl). The inhabitants of them became his first models and his first critics.   Related Paintings of Andrei Ryabushkin :. | Novgorod Kirche | In der wundertatigen Ikone | Diakon. Etude. | In der wundertatigen Ikone | Warten auf das Brautpaar auf der Hochzeit in der Provinz Nowgorod |
Related Artists:
E. Phillips Fox
Emanuel Phillips Fox (1865-1915) was an Australian Naturalist painter.
Wynford Dewhurst
British, 1864-1941 Wynford Dewhurst was born in Manchester in 1864. He was educated at home by a private tutor and later at Mintholme College. Although he originally trained to enter the legal profession, he showed artistic flair and decided to pursue a career as a painter after some of his drawings were published in various journals. He gained his artistic training in France at the Ecole des Beaux-Arts, in Paris, where he was a pupil of the renowned French painter Jean-L??on Gerome. Despite his teacher Gerome rejection of the radical Impressionist movement in favour of a highly finished academic style (Gerome continued the development and conservation of French Neoclassicism), Dewhurst was heavily influenced by the Impressionists. It is well known that he first encountered Impressionism, to which he was instantly attracted, in the work of Emile Claus in the Maddocks Collection in Bradford. However his most important mentor would become Claude Monet. It was Monet to whom Dewhurst dedicated his pioneering account of French Impressionism, Impressionist Painting: its genesis and development, in 1904. This was the first important study of the French painters to be published in English. As well as helping to reintroduce British artists to this style of painting, Dewhurst book called attention to the French Impressionists debt to the British artists John Constable and J. M. W. Turner, claiming that the Impressionists simply developed their existing painterly techniques. According to Dewhurst, artists who, like himself, painted in an impressionist manner, were often sneered at for imitating a foreign style, and he was keen to justify their position. French artists simply developed a style which was British in its conception, he wrote, a view that was dismissed by some French painters - such as Pissarro - who revealed his national bias when he acknowledged Constable and Turner but identified instead French influences like Nicolas Poussin, Claude Lorrain, Jean-Baptiste-Sim??on Chardin and Jean-Baptiste-Camille Corot. The thesis that Dewhurst put forward in Impressionist Painting was controversial for it dealt with the debated question of whether Impressionism was French or British in origin. However, it found much support in Britain: Kevin McConkey informs us that Dewhurst theme was taken up by others as various as Clausen, John Rothenstein and Kenneth Clark Nevertheless, Dewhurst detailed biographical notices of the most prominent artists associated with the rise of impressionism in France...leave little to be desired from the historical point of view. It is worth noting that Impressionist Painting also included an entire chapter on female artists, since modernity is the note of Impressionism, and that movement was the very first artistic revolt in which women took part. Indeed, Dewhurst thanks the celebrated female painter Mary Cassatt (who worked within the Impressionist circle) for her assistance in the preface of his book.
Giovanni Gerolamo Savoldo
Italian Mannerist Painter , c. 1480 - aft.1548 was an Italian High Renaissance painter. Savoldo was born in Brescia, but little is known about his early years. Some sources claim he was known as Girolamo Bresciano. By 1506 he was in Parma, and by 1508, he had joined the Florentine painter??s guild. In this period he finished the Rest at the Flight from Egypt (Augsburg), the Elijah Harassed by a Crow (National Gallery of Art, Washington), and a Deposition. In 1515 he painted the Portrait of a Clad Warrior, wrongly identified with Gaston de Foix. Also from the same period his the Temptings of St. Anthony, which appears to show the influence of the Flemish Hieronymus Bosch. The works was appreciated by the commissioners from Venice, where Savoldo relocated before 1520. On June 15, 1524 he signed a contract for an altarpiece for the church of San Domenico in Pesaro (now in the Brera, Milan). In 1527, he completed a St. Hieronymus for the Brescian family Averoldi, probably the one at National Gallery of London. From the 1530s dates a Nativity at the National Gallery in Washington DC, which seems influenced by the lambent contemporary, Correggio painting on the same topic. In 1533 Savoldo painted a Madonna with Four Saints in the church of Santa Maria in Organo, while in 1537-1538 he executed the altarpiece for the main altar of Santa Croce, Brescia.