Italian High Renaissance Painter, ca.1460-1535 was an Italian painter of the Renaissance. He was born at Ferrara, but moved to Bologna by the his early twenties, and would be more influential to the Bolognese school of painting. However, many artists worked in both nearby cities, and thus others consider him a product of the School of Ferrara. There are claims that he trained with Cosimo Tura. In 1483 he painted his famous Madonna and Child with the Bentivoglio family, and other frescoes, on the walls of the Bentivoglio chapel in San Giacomo Maggiore, and he followed this with many other works. He was a great friend of Francesco Francia, who was much influenced by him. In 1509 he went to Mantua, where his patron was the Marquis Francesco Gonzaga, and he eventually died there. His Madonna and Child enthroned is in the National Gallery, London, but his chief works are at Bologna. His sons, Ippolito and Girolamo, were also painters, and so was Girolamo's son, Lorenzo the younger (1537-1583).   Related Paintings of COSTA, Lorenzo :. | Concert dfgj | Two Young Man at a Column (detail) dfg | Vision of the Apocalypse dfg | Portrait of Giovanni Bentivoglio dfg | St Cecily s Charity |
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George Elgar Hicks
1824-1914 British George Elgar Hicks Gallery Born on March 13, 1824 in Lymington, Hampshire, George Elgar Hicks was the second son of a wealthy magistrate. His parents encouraged Hicks to become a doctor and so Hicks studied medicine at University College from 1840-42. However, after three years "ardous and disagreeable study" Hicks decided he wanted to be an artist. Due to this, Hicks began training as an artist considerably later in life than most artists of the time. In 1843, Hicks attended Sass's Academy and by 1844 had entered the Royal Academy Schools. In 1847 Hicks married Maria Hariss and six of their eight children were born in the seven years following. He did not achieve much success as an artist during this period and later referred to his art at this time as "small and unimportant." He blamed this on the fact he had little time to study art or interact with other artists, due to his busy family life. In 1859, Hicks painted his first large genre painting, Dividend Day. Bank of England (exhibited at the Royal Academy in 1859) following the success of Frith's paintings Ramsgate Sands and Derby Day at the Royal Academy. It was a typical genre painting, showing a scene from the Bank of England and featuring a broad range of social classes. Hicks painted several more large modern life paintings in the following years which were generally poorly reviewed by critics. These include The General Post Office. One minute to 6 (1860), Billingsgate Fish Market (1861) and Changing Homes (1862). Hicks paintings were often of subjects that no other artists attempted, such as the General Post Office and Billingsgate Fish Market. Hicks was one of the few artists that showed lasting interest in the emulation of Frith's style and is generally considered Frith's principal imitator. By the late 1860s, the popularity of genre painting had waivered and Hicks began to focus on painting historical subjects, leading to society portraiture in the 1870s. In 1884, Hicks remarried following the death of Maria in 1881. He retired in the 1890s and died a month before the declaration of World War I in 1914.
John Pettie
British Painter, 1839-1893 He was brought up in Edinburgh and East Lothian, and in 1855 he entered the schools of the Trustees' Academy, Edinburgh, sponsored by the history painter James Drummond (1816-77). He studied under Robert Scott Lauder, and among his fellow students were WILLIAM QUILLER ORCHARDSON, Thomas Graham (1840-1906), George Paul Chalmers (1833-78), John Burr (1831-93) and John MacWhirter, several of whom later became part of Pettie's circle of Scottish artist friends in London. Pettie first exhibited at the Royal Scottish Academy in 1858 with In Trabois House (untraced), a scene from Sir Walter Scott's The Fortunes of Nigel, and he began sending work to the Royal Academy in 1860. From 1858 he provided illustrations for the periodical Good Words, and, encouraged by the reviews received for his early Royal Academy exhibits, such as The Armourers (exh. RA 1860) and What D'Ye Lack' (exh. RA 1861), when Good Words transferred its headquarters, Pettie moved to London in 1862. He shared a studio in Fitzroy Square with Orchardson and Graham from 1863 until his marriage to Elizabeth Ann Bossom on 25 August 1865. He subsequently lived at various addresses, gravitating towards the wealthy artistic colony in St John's Wood, where in 1882, at 2 Fitzjohn's Avenue, he built a neo-Georgian house and studio, The Lothians (destr.). This reflected not only the professional circle in which Pettie moved but also the rapid financial success that he achieved in London. From the mid-1860s his most important patron was John Newton Mappin, founder of the Mappin Art Gallery,
George Morland
English genre, animal, and landscape painter, 1763-1804 was an English painter of animals and rustic scenes. Morland was born in London on 26 June 1763. His mother was a Frenchwoman, who possessed a small independent property of her own. His grandfather, George H. Morland, was a subject painter. Henry Robert Morland (c. 1719 ?C 1797), father of George, was also an artist and engraver, and picture restorer, at one time a rich man, but later in reduced circumstances. His pictures of Jaundry-maids, reproduced in mezzotint and representing ladies of some importance, were very popular in their time. At a very early age Morland produced sketches of remarkable promise, exhibiting some at the Royal Academy in 1773, when he was but ten years old, and continuing to exhibit at the Free Society of Artists in 1775 and 1776, and at the Society of Artists in 1777, and then sending again to the Royal Academy in 1778, 1779 and 1780. His very earliest work, however, was produced even before that tender age, as his father kept a drawing which the boy had executed when he was but four years old, representing a coach and horses and two footmen. He was a student at the Royal Academy in early youth, but only for a very short time. From the age of fourteen he was apprenticed to his father for seven years, and by means of his talent appears to have kept the family together. He had opportunities at this time of seeing some of the greatest artists of the day, and works by old masters, but even then a strange repugnance for educated society showed itself, and no persuasion