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 :. | Charlotte Stuart, Viscountess Canning | the duchesse d' aumale | Portrait of Queen Victoria | Portrait of Queen Victoria, Prince Albert, and their children | Melanie de Bussiere, Comtesse Edmond de Pourtales |
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Raffaellino del garbo
Italian Early Renaissance Painter , ca.1466-1524 Italian painter and draughtsman. According to Vasari, he began as the most gifted assistant of Filippino Lippi and the most promising painter of the new generation but never fulfilled expectations, deteriorating into mediocrity and worse. Raffaellino's first known work is the frescoed vault of a small antechamber off Filippino Lippi's Carafa Chapel in S Maria sopra Minerva, Rome, uncovered during restoration in the 1960s. It was decorated with pagan themes, to Filippino's designs, apparently after the main chapel was completed in 1493. Filippino's influence is evident in the all'antica detail and animated figure style, to which Raffaellino brought a youthful freshness and charm. Vasari, in his account of the vault, likened it to an illuminator's work. It has been suggested that Raffaellino remained in Rome and worked with Bernardino Pinturicchio in the Borgia apartments in the Vatican, where some frescoes of 1495 show stylistic affinities with Raffaellino's work in S Maria sopra Minerva.