Swiss 1827-1901 Arnold Bocklin Locations Arnold Bocklin was born on Oct. 16, 1827, in Basel. He attended the Dusseldorf Academy (1845-1847). At this time he painted scenes of the Swiss Alps, using light effects and dramatic views subjectively to project emotional moods into the landscape. In 1848 this romantic introspection gave way to plein air (open-air) objectivity after he was influenced by Camille Corot, Eugene Delacroix, and the painters of the Barbizon school while on a trip to Paris. But after the February and June revolutions Bocklin returned to Basel with a lasting hatred and disgust for contemporary France, and he resumed painting gloomy mountain scenes. In 1850 Bocklin found his mecca in Rome, and immediately his paintings were flooded by the warm Italian sunlight. He populated the lush southern vegetation, the bright light of the Roman Campagna, and the ancient ruins with lonely shepherds, cavorting nymphs, and lusty centaurs. These mythological figures rather than the landscapes became Bocklins primary concern, and he used such themes as Pan Pursuing Syrinx (1857) to express the polarities of life: warm sunshine contrasts with cool, moist shade, and the brightness of womans spirituality contrasts with mans dark sensuality. When Bocklin returned to Basel with his Italian wife, he completed the painting which brought him fame when the king of Bavaria purchased it in 1858: Pan among the Reeds, a depiction of the Greek phallic god with whom the artist identified. He taught at the Academy of Art in Weimar from 1860 to 1862, when he returned to Rome. Called to Basel in 1866, he painted the frescoes and modeled the grotesque masks for the facade of the Basel Museum. Bocklin resided in Florence from 1874 until 1885, and this was his most active period. He continued to explore the male-female antithesis and painted religious scenes, allegories of Natures powers, and moody studies of mans fate. He ceased working with oils and began experimenting with tempera and other media to obtain a pictorial surface free of brushstrokes. Bocklin spent the next 7 years mostly in Switzerland, with occasional trips to Italy; he devoted much of his energy to designing an airplane. Following a stroke in 1892, he returned to Italy, bought a villa in Fiesole, and died there on Jan. 16, 1901. Many of his late works depict nightmares of war, plague, and death.  Related Paintings of Arnold Bocklin :. | Triton and Nereid | Angelika von einem Drachen bewacht oder Angelica und Ruggiero | Spiel der Wellen | Island of the Dead | Portrait of Anne Catherine Constance as St Catherine |
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Antonio Ciseri
(October 25, 1821 ?C March 8, 1891) was a Swiss painter of religious subjects. Ciseri was born in Ronco sopra Ascona in the canton of Ticino in Switzerland. In 1833 he moved with his father to Florence. He was admitted in 1834 to the Accademia di Belle Arti, where he trained under Niccola Benvenuti. In 1849, he began offering instruction to young painters, and eventually ran a private art school. Among his earliest students was Silvestro Lega.[1] Ciseri's religious paintings are Raphaelesque in their compositional outlines and their polished surfaces, but are nearly photographic in effect. He fulfilled many important commissions from churches in Italy and Switzerland. Ciseri also painted a significant number of portraits. He died in Florence on March 8, 1891.
Jean Marc Nattier
1685-1766 French Jean Marc Nattier Gallery Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Academie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as cold. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Academie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage). The Tsar offered Nattier work at the Russian court, but the artist declined the offer. He remained in Paris for the rest of his life.
Justus van Gent
(or Joos van Wassenhove), Justus or Jodocus of Ghent, or Giusto da Guanto (c. 1410 - c. 1480) was an Early Netherlandish painter who later worked in Italy. The public records of the city of Ghent have been diligently searched, but in vain, for a clue to the history of Justus or Jodocus, whom Vasari and Guicciardini called Giusto da Guanto. Flemish annalists of the 16th century have enlarged upon the scanty, unsourced statements of Vasari, and described Jodocus as a pupil of Hubert van Eyck. The registers of the Guild of St Luke at Ghent comprise six masters of the name of Joos or Jodocus who practised at Ghent in the 15th century. But none of the works of these masters has been preserved, and it is impossible to compare their style with that of Giusto. Federico da Montefeltro and His Son, GuidobaldoBetween 1465 and 1474, this artist executed the Communion of the Apostles which Vasari described, and which is now in the Galleria Nazionale delle Marche in Urbino. It was painted for the brotherhood of Corpus Christi at the bidding of Frederick of Montefeltro, who was introduced into the picture as the companion of Caterino Zeno, a Persian envoy at that time on a mission to the court of Urbino. From this curious production it may be seen that Giusto, far from being a pupil of the putative Hubert Van Eyck, must have been studied with a later master, possibly Dieric Bouts. As a composer and draughtsman Giusto compares unfavourably with the better-known painters of Flanders; though his portraits are good, his ideal figures are not remarkable for subtlety of character and expression. Technically, he compares on a level with that of Geertgen tot Sint Jans, whose most famous pictures are preserved in the Kunsthistorisches Museum at Vienna. Vespasian, a Florentine bookseller who contributed much to form the antiquarian taste of Frederick of Montefeltro, states that this duke sent to the Netherlands for a capable artist to paint a series of ancient worthies for a library recently erected in the palace of Urbino. It has been conjectured that the author of these 28 portraits of "Famous Men," which are still in existence at the Louvre and in the Galleria Nazionale delle Marche at Urbino, was Justus van Gent. Seven (?) Liberal Arts: a young man (Constanzo Sforza?) before Music (National Gallery, London). Another painting from this cycle, with Federigo da Montefeltro before Rhetoric was destroyed in Berlin in 1945Yet there are notable divergences between these pictures and the Communion of the Apostles. Still, it is possible that Giusto should have been able, after a certain time, to temper his Flemish style by studying the masterpieces of Santi and Melozzo, and so to acquire the mixed manner of the Flemings and Italians which these portraits of worthies display. Such an assimilation, if it really took place, might justify the Flemings in the indulgence of a certain pride, considering that Raphael not only admired these worthies, but copied them in the sketch-book which is now the ornament of the Venetian Academy. There is no ground for presuming that Giusto da Guanto is identical with Justus d'Allamagna who painted the Annunciation (1451) in the cloisters of Santa Maria di Castello at Genoa. The drawing and coloring of this wall painting shows that Justus d'Allamagna was as surely a native of south Germany as his homonym at Urbino was a born Netherlander.