French 1843-1903   Related Paintings of Charles Schreiber :. | Boboli Gardens | Portrait of an Unknown Man | Self-portrait | Autume Landscape | Mary Magdalen |
Related Artists:
Jacob van Schuppen
Born in Fontainebleau, France, as the son of the painter-engraver Pieter van Schuppen, he worked in the Netherlands before moving to Vienna. He was taught to paint by his father and his uncle Nicolas de Largilliere. In 1719 he was registered in Luneville, but he moved in the same year to Vienna where he became court painter. In 1725 he was appointed director of the Academy of Fine Arts Vienna, when it was refounded by Emperor Charles VI as the k.k. Hofakademie der Maler, Bildhauer und Baukunst (Imperial and Royal Court Academy of painters, sculptors and architecture).
Ottavio Leoni
Ottavio Leoni (1578 - 1630) was an Italian painter and printmaker of the early-Baroque, active mainly in Rome. He was born in Rome, where he first trained with his father, Lodovico Leoni. He painted altarpieces for churches in Rome such as an Annunciation for Sant'Eustachio and a Virgin and child with St. Giacinto for Santa Maria della Minerva, and a Saints Charles, Francis, & Nicholas for Sante Urbano. He became a member, and later president, of the Accademia di San Luca and a Cavalieri of the Order of Christ, on which occasion he presented the church of the Academy the Martyrdom of St. Martina. He died in Rome. Ottavio Leoni was also the engraver of a set of portraits of painters. His portrait of Michelangelo Merisi Caravaggio is the only documented portrait of the painter by another artist. His work is exhibited in places such as Fine Arts Museums of San Francisco; Museum of Fine Arts, Boston; National Gallery of Art; Bowes Museum; Courtauld Institute of Art; Los Angeles County Museum of Art; and Palazzo Ruspoli, Rome, Italy.
MANFREDI, Bartolomeo
Italian Baroque Era Painter, 1582-1622 Italian painter. In the 17th century he was known throughout Italy and beyond as Caravaggio's closest follower and his works were highly prized and widely collected. More than simply aping Caravaggio's style, Manfredi reinterpreted his subjects and rendered new ones, drawing upon Caravaggio's naturalism and dramatic use of chiaroscuro. His paintings were often praised by his contemporaries as equal to Caravaggio's and he was subsequently emulated and imitated by other Roman Caravaggisti during the 1610s and 1620s. Yet by the 18th century his works were forgotten or confused with those of Caravaggio himself,