Italian Baroque Era Painter, ca.1609-1664 Painter, printmaker and draughtsman. Most of his works are scenes of the journeys of the patriarchs (e.g. Noah, Abraham, Isaac, Jacob), drawn from the book of Genesis and filled with animals and still-life detail. His oeuvre also, however, includes many spectacular mythological and religious compositions set in expansive landscapes, and for these he found inspiration in Classical mythology, ancient history, Aesop's Fables, 16th-century Italian literature and the lives of the saints. Early biographers claim that he was also a prolific portrait painter, but few examples, save the so-called portrait of Gianlorenzo Bernini (c. 1648-50; Genoa, Pal. Bianco), have been conclusively identified. His surviving subjects reveal his interest in magic and metamorphosis and in philosophical questions such as the frailty of human life, the inevitability of death and the search for truth.   Related Paintings of CASTIGLIONE, Giovanni Benedetto :. | Christ Chasing the Moneylenders from the Temple (mk05) | Fable of Diogenes | Embrace the glory of the Son and Our Lady of Angels | Entrada dos Animais na Arca de Noe | The rest in the flight to Egypt |
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Clara Southern
Australian artist, 1860-1940 Australian painter. One of the first generation of progressive, professionally educated Australian women artists, she began her training as a pupil of Mme Mouchette, painter, schoolmistress and founder of the Alliance Fran?aise in Melbourne; and later took lessons from Walter Withers. As a student at the National Gallery of Victoria (1883-7) she was nicknamed 'Panther' for her lithe beauty. From mid-1888 she shared a teaching studio with Jane Sutherland in the new purpose-built Grosvenor Chambers, where Tom Roberts was a neighbour. She had 'caught the "Impressionist" fever', reported Table Talk (2 Aug 1889), and showed 'a great variety of charming little sketches, which however are not intended for exhibition'. She showed with the Victorian Artists' Society (1889-1917): mainly subjects around Kyneton and Melbourne's outer suburbs, painted in the fresh, quasi-Impressionist style characteristic of the Heidelberg school.
Johann Hermann Carmiencke
Johann Hermann Carmiencke, a landscape painter and etcher, was born at Hamburg in 1810. He went to Dresden in 1831 as a journeyman painter, and while there studied in Dahl's school. Thence he went to Copenhagen in 1834, where he studied in the Academy, and presently repairing to Leipsic, received instruction there from Sohonberg. Returning to Copenhagen in 1838, he proceeded to travel as an artist in Sweden, Bavaria, and the Tyrol, visiting Italy from 1845 to 1846. He was then appointed court painter to Christian VIII, for whom he executed many works. In consequence of the war, he went in 1851 to New York, where he was well received, and admitted into the Academy of Brooklyn. His works were mainly groups of mountain ranges, which were very effectively rendered, and possessed an excellent tone the execution being simple and true to nature. The 'Mountain Tarn' and the 'View on the Zillerthal' may be particularly noticed. There are thirty-five careful etchings of landscapes by him, some of which were published by the Art Association of Copenhagen in 1850 and 1851. He died at New York in 1867.
Nathaniel Dance
English Painter, 1735-1811,Painter and politician, elder son of George Dance . He trained under Francis Hayman before travelling to Rome in 1754. As Nathaniel Dance he established himself as a portrait painter but was determined to succeed as a history painter. His picture the Death of Virginia (1759; untraced, but known from a sketch, London, Soane Mus.) is of documentary importance as the first dated Classical history painting by a British artist working in Rome. In 1762 Dance assisted Pompeo Girolamo Batoni, whose influence brightened his palette and introduced him to a grander clientele, including Edward Augustus, Duke of York (1739-67), who sat for both artists in 1764 (Dance's Edward Augustus, Duke of York, London, Buckingham Pal., Royal Col.). In the same year Dance painted a portrait of Angelica Kauffman (Burghley House, Cambs), with whom he was in love. He returned to London in 1765 and rapidly achieved fame as a portrait and history painter. His Timon of Athens (1767; London, Buckingham Pal., Royal Col.) was purchased by George III; but after the King appointed Benjamin West to be his history painter in 1772, Dance concentrated on portraits. He was among the 22 artists who successfully petitioned the King in 1768 to establish a Royal Academy, and he served for periods as a council member and visitor, until 1782. At the Academy's first exhibition (1769) Dance showed full-length portraits of George III and Queen Charlotte (Uppark, W. Sussex, NT); two years later he exhibited David Garrick as Richard III (Stratford-on-Avon, Town Hall). In the mid-1770s Dance became financially independent, and his output declined sharply, virtually ceasing after his marriage in 1783 to a wealthy widow. He resigned from the Academy in 1790 on his election as Member of Parliament for East Grinstead and subsequently only exhibited occasional landscapes as a 'gentleman'. In 1800 he was created a baronet and assumed the name of Dance-Holland; he died worth over