German 1805-1873 Franz Xaver Winterhalter Galleries German painter and lithographer. He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Scheler (1785-1852) in Freiburg im Breisgau and went to Munich in 1823, sponsored by the industrialist Baron Eichtal. In 1825 he began a course of study at the Akademie and was granted a stipend by Ludwig I, Grand Duke of Baden. The theoretical approach to art of the Akademie under the direction of Peter Cornelius was unfamiliar to him, as in Freiburg he had been required to paint in a popular style. He found the stimulus for his future development in the studio of Joseph Stieler, a portrait painter who was much in demand and who derived inspiration from French painting. Winterhalter became his collaborator in 1825. From Stieler he learnt to make the heads of figures emerge from shadow and to use light in the modelling of faces. He moved to Karlsruhe in 1830 with his brother Hermann Winterhalter (1808-92), who had also trained with Scheler and had followed him to Munich.  Related Paintings of Franz Xaver Winterhalter :. | William Douglas Hamilton, 12th Duke of Hamilton | The Family of Queen Victoria (mk25) | A Swiss Girl from Interlaken | Portrait of the Queen | Queen Victoria (mk25) |
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Marie Bashkirtseff
(Russian: November 11, 1858 October 31, 1884) was a Ukrainian-born Russian diarist, painter and sculptor. Marie BashkirtseffBorn Maria Konstantinovna Bashkirtseva in Gavrontsy near Poltava, to a wealthy noble family, she grew up abroad, traveling with her mother across most of Europe. Educated privately, she studied painting in France at the Acad??mie Julian, one of the few establishments that accepted female students. The Acad??mie attracted young women from all over Europe and the United States. One fellow student was Louise Breslau who Marie viewed as her only rival. Marie would go on to produce a remarkable body of work in her short lifetime, the most famous being the portrait of Paris slum children titled The Meeting and In the Studio, (shown here) a portrait of her fellow artists at work. Unfortunately, a large number of Bashkirtseff's works were destroyed by the Nazis during World War II. From the age of 13, she began keeping a journal, and it is for this she is most famous. Her personal account of the struggles of women artists is documented in her published journals, which are a revealing story of the bourgeoisie. Titled, I Am the Most Interesting Book of All, her popular diary is still in print today. The diary was cited by an American contemporary, Mary MacLane, whose own shockingly confessional diary drew inspiration from Bashkirtseff's. Her letters, consisting of her correspondence with the writer Guy de Maupassant, were published in 1891. The grave of Marie BashkirtseffDying of tuberculosis at the age of 25, Bashkirtseff lived just long enough to become an intellectual powerhouse in Paris in the 1880s. A feminist, in 1881, using the nom de plume "Pauline Orrel," she wrote several articles for Hubertine Auclert's feminist newspaper, La Citoyenne. One of her famous quotes is: Let us love dogs, let us love only dogs! Men and cats are unworthy creatures.
Ghasiram Hardev Sharma
1868-1930
Carlo Bononi
Italian, 1569-1632,Italian painter. He was among the last great painters of the Ferrarese school, his style uniting warm Venetian colour with the lyrical effects of light and elegant draughtsmanship of Ludovico Carracci. He was a pupil of Giuseppe Mazzuoli (c. 1536-89), but his early activity is little documented. The Martyrdom of St Paul (Pommersfelden, Schloss Weissenstein), which is indebted to Mazzuoli and combines elements of Ferrarese and Venetian traditions, may represent the earliest phase of his development. Later, through a study of the art of Ludovico Carracci, modified by a response to Dosso Dossi and to Correggio, he developed a more individual style. An altarpiece of the Virgin with SS Maurilius and George (Vienna, Ksthist. Mus.) is unanimously dated before 1600. It is probable that Bononi made study tours to Bologna, Parma, Verona and Venice. Between 1605 and 1610 he spent two years in Rome (Baruffaldi), a visit confirmed by three paintings of scenes from the Life of St Paternian in the church of S Paterniano in Fano; dated between 1610 and 1612 (Emiliani), these reflect a direct study of Caravaggio and of his early Roman followers, such as Orazio Borgianni.