Italian Early Renaissance Painter, ca.1400-1461
Related Paintings of DOMENICO VENEZIANO :. | Portrait of a Young Woman | Annunciation (predella 3) dfg | Madonna and Child with Sanits (mk08) | The Madonna and Child with Saints (detail) sdhbg | St John the Baptist and St Francis sdn | Related Artists:
Francois Joseph KinsonFrançois-Joseph Kinson (1771-1839) was a Flemish painter.
Kinson attended art school at Bruges and soon established a reputation in Ghent and Brussels. He exhibited a portrait in Paris in 1799. Settling in Paris after the exhibition, the artist courted the favor of the rich and famous of the time. Kinson worked for Napoleones court and eventually became court painter to Jerôme Bonaparte, King of Westphalia. Kinson is best remembered for his portraits of elegant women. The artist worked as a court painter in Paris until 1830, and died in 1839 at the age of 68.
adriaen backerthe anatomy lesson of dr frederick ruysch,
1670. amsterdams historisch museum
Sofonisba Anguisciola1532?C1625, The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century.
