1815-1894 Spanish Federico de Madrazo y Kuntz Gallery Born in Rome, he was the son of the painter Madrazo y Agudo (1781-1859), and received his first instruction from his father. While still attending the classes at the Royal Academy of San Fernando, he painted his first picture, The Resurrection of Christ (1829), which was purchased by Queen Christina. Not long afterwards he painted Achilles in his Tent, and subsequently presented to the Academy The Continence of Scipio, which secured him admission as a member "for merit". While decorating the palace of Vista Alegre he took up portraiture. In 1852 he went to Paris, where he studied under Franz Winterhalter, and painted portraits of Baron Taylor and Ingres. In 1837 he was commissioned to produce a picture for the gallery at Versailles, and painted "Godfrey de Bouillon proclaimed King of Jerusalem". The artist then went to Rome, where he worked at various subjects, sacred and profane. Then he painted Maria Christina in the Dress of a Nun by the Bedside of Ferdinand III (1843), Queen Isabella, The Duchess of Medina-Coeli, and The Countess de Vilches (1845-1847), besides a number of portraits of the Spanish aristocracy, some of which were sent to the exhibition of 1855. He received the Legion of Honour in 1846. He was made a corresponding member of the Paris Academy of Fine Arts on 10 December 1853, and in 1873, on the death of Schnorr, the painter, he was chosen foreign member. After his father's death he succeeded him as director of the Museo del Prado and president of the Academy of San Fernando. He originated in Spain the production of art reviews and journals, such as El Artiste, El Renacimiento, and El Semanario pintoresco. He died at Madrid in 1894.   Related Paintings of Federico de Madrazo y Kuntz :. | Elizabeth Wethered Barringer | Retrato de Ines Francisca de Silva Bazan y Tellez Giron | Retrato de Ines Francisca de Silva-Bazan y Tellez Giron | Portrait of Francisco Adolfo de Varnhagen | Amalia de Llano de Llano y Dotres |
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Ludovico Mazzolino
(1480 - c. 1528) - also known as Mazzolini da Ferrara, Lodovico Ferraresa, and Il Ferrarese - was an Italian Renaissance painter active in Ferrara and Bologna. He was born and died in Ferrara. He appears to have studied under such as Lorenzo Costa, who also trained Dosso Dossi and Cosimo Tura, and came under the influence of Ercole Roberti. In 1521 he married Giovanna, the daughter of Bartolomeo Vacchi, a Venetian painter. Much of his work was commissioned by the duke Ercole I d'Este from Ferrara. Mazzolino was influenced by il Garofalo and Boccaccino. He is known for devotional cabinet pictures, in a style somewhat regressive, or primitive, relative to the modern classicism then emerging. For example, his Massacre canvas has a turbulent and cartoonish crowding. The exact date, or even year, of his death is not known, but he died during a plague which devastated the area.
Leon Benouville
Paris 1821 - Paris 1859. was a French painter. Leon Benouville first studied with his elder brother Jean-Achille Benouville (1815-1891) in the studio of François-Edouard Picot before he transferred to Ecole des Beaux-Arts in 1837. Like his brother he received the Prix de Rome in 1845. In Rome, as a Prix de Rome pensionary at the Villa Medici, he stayed with his brother and met the sculptor Charles Gumery.
Paris Bordone
Italian 1500-1571 Italian painter and draughtsman. He is best known for his strikingly beautiful depictions of women, both in portraits and in cabinet paintings. He also excelled in rendering monumental architectural settings for narrative, both religious and secular, possibly initiating a genre that would find great currency during the mid-16th century, especially in Venice, France and the Netherlands. His favoured media were oil and fresco, the latter being used on both interiors and faades. Although he was not generally sought after by Venetian patrons during his career, as his art was eclipsed by that of Titian, Paolo Veronese and Jacopo Tintoretto, Bordone was regarded in the mid-16th century as an accomplished artist (Pino; Sansovino). He worked for the moneyed lite of northern Italy and Bavaria, for the royalty of France and Poland, and had works commissioned to be sent to Spain and to Flanders. Despite knowledge of the important patrons for whom he worked, the chronology of Bordones oeuvre is by no means clear. Dating on stylistic grounds is confounded by the diverse sources on which he drew, ranging from the Emilian, Lombard and Venetian to the French and northern European, depending on the patron. Due to the ease with which prints circulated during Bordones career, it is difficult to ascertain whether influences were derived at first hand or from printed images. Such difficulties in assigning dates are further exacerbated by his use of the same figure study for numerous paintings evidently executed decades apart. Reliance on the testimony of Vasari, who interviewed Bordone in 1566, in conjunction with the extant documents, the few signed and dated paintings and, to a lesser extent, period fashion provides only a rough outline of his activity. Due to the lack of agreement among scholars regarding chronology, the following account is based mainly on the documentary evidence.