Italian High Renaissance Painter, ca.1430-1516 Giovanni Bellini (c. 1430 ?C 1516) was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini, and his brother-in-law was Andrea Mantegna. He is considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian.  Related Paintings of BELLINI, Giovanni :. | Madonna and Child du7 | Small Tree with Inscription (fragment) | Madonna with Child fe5 | Details of St.Francis in the desert | Dead Christ Supported by Angels (Pieta) 3659 |
Related Artists:
George L. Seymour
British, act. 1876 - 1916 Seymour was a son of Lord Hugh Seymour (himself a son of Francis Seymour-Conway, 1st Marquess of Hertford) and Anna Horatia Waldegrave (a daughter of James Waldegrave, 2nd Earl Waldegrave) and entered the Royal Navy in 1797. He captained HMS Pallas during the Battle of Basque Roads and HMS Leonidas and HMS Fortun??e during the War of 1812. For his part in the latter war, he was appointed a CB in 1815 (alongside many other Captains) and a KCH in 1831 (and later a GCH in 1834). He rose through the ranks in the navy over the years and in 1852 was appointed a KCB (and later a GCB in 1860) and finally as an Admiral of the Fleet in 1866.
Antonio Fabres y Costa
1855-1938
LONGHI, Pietro
Italian Rococo Era Painter, ca.1702-1785 Painter and draughtsman. His father, Alessandro Falca, encouraged his natural talent for drawing, and he studied under Antonio Balestra for 'several years', according to his son, Alessandro Longhi. Balestra probably took Pietro to Bologna and recommended him to Giuseppe Maria Crespi. No documents exist on Longhi until 1732, the year he married, and some doubt has been expressed about his study with Crespi. There is no trace of Crespi's influence in Longhi's altarpiece for the parish church of S Pellegrino in Bologna, St Pellegrino Condemned to Death, installed in 1732; Crespi's style is an intimate one, however, and would have been inappropriate for such a large altarpiece. One of Longhi's first independent works, the St Pellegrino altarpiece recalls his Venetian origins and training in its broken brushwork and colour glazes. In another early work, the Adoration of the Magi (Venice, Scuola Grande S Giovanni Evangelista), documented in 1733 as at S Maria Materdomini, Venice, the subject-matter lends itself to a more domestic treatment, and Crespi's influence is evident. Both these works contain passages anticipating Longhi's subsequent development as a genre painter; in each picture a boy or young man, perhaps a self-portrait, gazes out at the spectator, unconcerned with events in the painting.