Spanish Early Renaissance Painter, ca.1450-1504 Pedro Berruguete (c. 1450 ?C 1504) was a Spanish painter, his art is regarded as a transitional style between gothic and renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino. He came back Spain 1482 and painted in several cities as Sevilla, Toledo and Ávila. He was father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.  Related Paintings of BERRUGUETE, Pedro :. | St.Dominic Pardons a Heretic | Annunciation xnitte | Altarpiece of the Purification | Vision of the Blessed Amedeo Menez de Sylva | Auto-da-Fe |
Related Artists:
Louis Eilshemius
1864-1941 Louis Eilshemius Gallery Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League of New York. He subsequently studied under Bouguereau at the Acad??mie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life. His early landscapes, which show the influence of the Barbizon school and of Corot, George Inness and Albert Pinkham Ryder, gained him little recognition from critics or from the public. Around 1910, the element of fantasy in his work became more pronounced and his technique became coarser; henceforth, he often painted on cardboard instead of canvas. As his works became more idiosyncratic, so did his behavior, and he developed an unsettling habit of visiting galleries and loudly condemning the works on display. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air. His paintings of New York rooftops are as lyrical as his pastoral scenes, and like them are often bounded by sinuous "frames" he painted onto his pictures. Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his numerous, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures: suspecting that the length of his name was responsible for his neglect, in about 1890 he began signing his paintings "Elshemus" (he reverted back to the original spelling in 1913). On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: "Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages", as well as world-class athlete and marksman, "Spirit-Painter Supreme", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan. He was not without supporters, however. He was championed by Marcel Duchamp, who "discovered" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Soci??t?? Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937. The remainder of his life was dedicated to self-promotion, and in 1931 he took to referring to himself as "Mahatma". Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941. Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State.
Pierre Auguste Cot
(February 17, 1837 ?C 1883) was a French painter of the Academic Classicism school. He was born in B??darieux, and initially studied at l'Ecole des Beaux-Arts in Toulouse before going to Paris. He studied under Leon Cogniet, Alexandre Cabanel and William-Adolphe Bouguereau. From the 1870s, his popularity grew quickly. In 1874 he was made Chevalier of the Legion of Honour. He created several works of lasting popularity, including Le Printemps, featuring two young lovers sitting upon a swing, and The Storm. Both these paintings are on display at the Metropolitan Museum of Art in New York City;
Ecce Homo
are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art. The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem. But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.