1791-1882 Italian Francesco Hayez Galleries Hayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francisco Magiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there. Assessment of the career of Hayez is complicated by the fact that he often did not sign or date his works. Often the date indicated from the evidence is that at which the work was acquired or sold, not of its creation. Moreover he often painted the same compositions several times with minimal variations, or even with no variation. His early works show the influence of Ingres and the Nazarene movement. His later work participates in the Classical revival.  Related Paintings of Francesco Hayez :. | Portrait of Gioacchino Rossini | The destruction of the Temple of Jerusalem. | Melancholischer Gedanke | La Meditazione | Portrait of Antonietta Negroni Prati Morosini, Oval |
Related Artists:
DARET, Jacques
Netherlandish Northern Renaissance Painter, ca.1404-1470 was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil,
Gerard Bilders
painted Cows in the meadow in 1861
Sigmund Freudenberger
Swiss, 1745-1801,Swiss painter, draughtsman and engraver. In 1761 he went to work for the portrait painter Emanuel Handmann in Basle, where he stayed for three years. In 1765, with Adrian Zingg (1734-86), he left for Paris, where he trained with Jakob Schmutzer (1733-1811) and frequented the studio of Jean Georges Wille, the celebrated engraver. He worked as a book illustrator during this period. The work of Boucher, whom he met, and of Greuze and Fragonard had a significant influence on his artistic development. Freudenberger returned in 1773 to Berne, where he undertook several portraits. He became friendly with Johann Ludwig Aberli, with whom he travelled the countryside, which he recorded in numerous drawings, watercolours and engravings. He specialized in genre scenes, rustic still-lifes and portrayals of Bernese peasant life, which became very popular. In some works, such as a red chalk drawing of A Woman Playing the Harp (1778; Zurich, Schweizer. Landesmus.), he continued the gallant style he had learnt from Boucher. His watercolours were frequently engraved, either individually or in series, and hand-coloured. His style is characterized by detailed and careful execution and by an intimate, narrative approach, although he tended to idealize his rustic subject-matter. His work was significant in introducing genre subjects in Switzerland, where artists had tended to concentrate on pure landscape. He ran a large studio where Daniel Lafond (1763-1831), Niklaus Kenig and Georg Mind (1768-1814) were pupils. The French Revolution was disastrous for his art and his business and clouded the last years of his life.