1703-1766 Italian Corrado Giaquinto Galleries He was born in Molfetta. As a boy he apprenticed with a modest local painter Saverio Porta, (c1667-1725), escaping the religious career his parents had intended for him. By October 1724, he left Molfetta, and along with his contemporaries Francesco de Mura (1696-1784) and Giuseppe Bonito (1707-1789), he trained from 1719-23 in the prolific Neapolitan studio of Francesco Solimena, either with Solimena or his pupil, Nicola Maria Rossi. Throughout his life, Giaquinto was a peripatetic painter, with long sojourns in Naples, Rome (between 1723-53), Turin (1733 and 1735-9), and Madrid (1753-1761). In 1723, he moved to Rome to work in the studio of Sebastiano Conca. He painted in San Lorenzo in Damaso, San Giovanni Calibita, and the ceiling at Santa Croce in Gerusalemme. In March 1727, with Giuseppe Rossi as an assistant, Giaquinto opened an independent studio near the Ponte Sisto, in the parish of Saint Giovanni of the Malva in Rome. In 1734, he married Caterina Silvestri Agate. The first documented work by his hand is Christ crucified with the Madonna, Saint John Evangelist, and Magdalene commissioned in 1730 by king John V of Portugal for the cathedral of the Mafra. In 1731, he received a prestigious commission, to execute frescoes in the church of San Nicola dei Lorenesi: Saint Nicholas water gush from cliff, three theologic and cardinal Virtues, and in the cupola Paradise. The latest restoration confirms Giaquinto stylistic independence from Solimena, and reveals his stylistic dependence on Luca Giordano.  Related Paintings of Corrado Giaquinto :. | Saints in Glory S | The Brazen Serpent | Tobias and the Angel | Justice and Peace | Birth of the Virgin |
Related Artists:
Robert Salmon
1775-1844 American painter of English origin. Having trained and painted in England and Scotland, he moved to Boston in 1828, painting in a 'little hut' near the wharves of South Boston. Reportedly an eccentric, he became a successful painter of marine views, adopting a range of different scales, including small wooden panels, larger canvases and theatre backdrops. Moonlight Coastal Scene (1836; St Louis, MO, A. Mus.) is typical of his works on panel, and it demonstrates his use of light to silhouette form. There are no extant examples of the panoramic views done as backdrops; his canvases such as Wharves of Boston (1829; Boston, MA, Old State House) and View of Charlestown (1833; Annapolis, MD, US Naval Acad. Mus.) are full of carefully delineated figures, minute and accurate details of the ships and their rigging, and, most importantly, large expanses of sky dominated by strong light. Salmon's portrayal of light-filled water and sky, increasingly luminous in the late 1830s and early 1840s, has caused him to be considered by some as the father of LUMINISM (i). He used a low viewpoint and contrasted a distant shoreline and small-scale figures in the foreground in a manner that prefigured the work of Fitz Hugh Lane and Martin Johnson Heade, both of whom were influenced by Salmon's manipulation of scale, light and subject-matter. It appears that he returned to England before his death.
seraphine
Seraphine Louis, known as "Seraphine de Senlis" ("Seraphine of Senlis") (1864?C1942), was a French painter in the naïve style. Self-taught, she was inspired by her religious faith and by stained-glass church windows and other religious art. The intensity of her images, both in color and in replicative designs, are sometimes interpreted as a reflection of her own psyche, walking a tightrope between ecstasy and mental illness.
Aleksander Gierymski
Warsaw 1850-1901 Rome, Brother of Maks Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868-73) at the Akademie der Bildenden Kenste in Munich under Georg Hiltensperger (1806-90) and Alexander Strehuber (1814-82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare's Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother Maks to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome.