Italian Early Renaissance Painter, 1449-1494 Florentine painter, whose family name was Bigordi. He may have studied painting and mosaics under Alesso Baldovinetti. Ghirlandaio was an excellent technician. Keenly observant of the contemporary scene, he depicted many prominent Florentine personalities within his religious narrative paintings. Among his earliest frescoes are the Madonna with the Vespucci Family and the Last Supper (Church of the Ognissanti, Florence). He painted scenes from the life of Santa Fina (collegiate church in San Gimigniano) and frescoes in the Palazzo Vecchio, Florence. In 1481, Pope Sixtus IV called him to Rome, along with Botticelli, to decorate the Sistine Chapel. He painted the Calling of the First Apostles, a scene close in spirit to Masaccio. He returned to Florence to work on the frescoes in the Sassetti Chapel in Santa Trinita. He introduced Sassetti, Corsi, Poliziano, the Medici, and many other contemporaries as participants in the life of St. Francis. Ghirlandaio's most famous achievement is his fresco cycle of the life of Mary and St. John the Baptist for the choir of Santa Maria Novella. Michelangelo served an apprenticeship with him at this time and probably worked on these frescoes. Other examples of his art are the Adoration of the Magi (Uffizi); another Adoration (Hospital of the Innocents); a mosaic of the Annunciation for the Cathedral; a portrait of Francesco Sassetti and his son (Metropolitan Mus.);   Related Paintings of GHIRLANDAIO, Domenico :. | St Matthew the Evangelist | Baptism of Christ | Herod-s Banquet | Resurrection of the Boy | St John the Evangelist |
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Charles Jervas
Charles Jervas (c. 1675 - 1739) was an Irish portrait painter, translator, and art collector of the early 18th century. Born in County Offaly,Ireland around 1675, the son of John Jervas and Elizabeth, daughter of Captain John Baldwin of Shinrone Castle & Corolanty, High Sheriff of County Offaly. Jervas studied in London, England as an assistant under Sir Godfrey Kneller between 1694 and 1695. After selling a series of small copies of the Raphael Cartoons circa 1698 to Dr. George Clarke of All Souls College, Oxford, the following year he travelled to Paris and Rome (while financially supported by Clarke and others) remaining there for most of the decade before returning to London in 1709 where he found success as a portrait painter.
Cordelia Creigh Wilson
(28 November 1873, Georgetown, Colorado - 7 June 1953, Seattle, Washington) was a painter noted for her landscapes of New Mexico and the American Southwest. Cordelia "Cordie" Creigh was born in Clear Creek County, Colorado. Her father died in her early childhood, and she was raised by her mother, Emma Creigh who shuttled the family between Winfield, Kansas and Colorado. She married Willard Wilkinson in Boulder, Colorado in 1897 and gave birth to her only child, Louise, in Hayden the next year, however, the couple divorced shortly after the turn of the century. Cordelia then began to seriously develop her skills as an artist motivated by latest trends in American realism led by Robert Henri. Her academic training emphasized development of an alla prima technique and painting out of doors, which inspired her to produce bold impasto works quickly. She started making road trips to New Mexico and became friends with painters in the Taos Society of Artists and the Santa Fe art colony. Her numerous expressive oil sketches and en plein air canvases of adobe dwellings and rugged landscapes caught the attention of art dealers. Before the end of the First World War, Cordelia married John H. Wilson and took his surname for her entire professional career. They settled on Tremont Street in Denver, just around the corner from the J. Gibson Smith Gallery which displayed and sold her works. Many of her paintings had frames she hand-carved in rustic Arts and Crafts style and gilded with sheets of gold leaf. In 1917, Cordelia Wilson was honored by having two paintings selected for the inaugural exhibition of the new New Mexico Museum of Art in Santa Fe. The show featured easel works by George Bellows, Robert Henri, F. Martin Hennings, and Leon Kroll, who were working in the Southwest at that time, along with the "Taos Six" (Oscar Berninghaus, Ernest Blumenschein, Irving Couse, Herbert Dunton, Bert Geer Phillips, and Joseph Henry Sharp) and other members of the Taos Society. One of her paintings exhibited in the show, A Mexican Home, was reproduced in the January CFebruary 1918 issue of the journal Art and Archaeology (published by the Archaeological Institute of America) that featured a cover article about the museum's opening. Among Cordelia Wilson's largest landscapes is a 50" x 70" canvas, created for World War I military training. It was exhibited at the School of American Research of Santa Fe in 1917 with other large-scale so-called "Range Finder" paintings by Blumenschein, Berninghaus, Phillips, Gustave Baumann, Walter Ufer, Leon Gaspard, and others. They had been commissioned by the U.S. Army based on a proposal by the Salmagundi Club of New York, whose members wanted to make a special contribution to America's war effort. When the show closed, the works on display were shipped to Camp Funston at Fort Riley, Kansas and Camp Cody at Deming, New Mexico. The paintings were used for indoor instruction in range finding, topographical quizzes, and map drawing at Army camps. John Wilson, her husband, contracted tuberculosis in about 1921. The couple moved to the Seattle for his treatment at a sanitorium, where he passed away the following year. In 1923, Cordelia married for a third time to John N. Fahnestock, but this marriage ended in divorce in 1928. Cordelia continued to reside in Pacific Northwest producing still lifes, florals, and scenes of the Puget Sound region, although she periodically traveled, worked, and displayed her art in the Southwest.
Elizabeth Siddal
British Pre-Raphaelite Artist , 1829-1862 was a British artists' model, poet and artist who was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood. Siddal was perhaps the most important model to sit for the Pre-Raphaelite Brotherhood. Their ideas about feminine beauty were profoundly influenced by her, or rather she personified those ideals. She was Dante Gabriel Rossetti's model par excellence; almost all of his early paintings of women are portraits of her. She was also painted by Walter Deverell, William Holman Hunt and John Everett Millais, and was the model for Millais' well known Ophelia (1852). Named Elizabeth Eleanor Siddall, after her mother, Lizzie was born on 25 July, 1829, at the family??s home at 7 Charles Street, Hatton Garden. She was born to Charles Siddall and Eleanor Evans, a family of English and Welsh descent. At the time of Lizzie??s birth, her parents were not poverty stricken. Her father had his own cutlery-making business. Around 1831, the Siddall family moved to the borough of Southwark, in south London, a less salubrious area than Hatton Garden. It was in Southwark that the rest of Lizzie??s siblings were born: Lydia, to whom Lizzie was particularly close, Mary, Clara, James and Henry. Although there is no record of her having attended school, Lizzie was able to read and write, presumably having been taught by her parents. She developed a love of poetry at a young age, after discovering a poem by Tennyson on a scrap of newspaper that had been used to wrap a pat of butter. This discovery was one of Lizzie??s inspirations to start writing her own poetry. Model for the Pre-Raphaelites Siddal, whose name was originally spelt 'Siddall' (it was Rossetti who dropped the second 'l') was first noticed by Deverell in 1849, while she was working as a milliner in Cranbourne Alley, London. She was the daughter of Charles Crooke Siddall, a cutler who claimed that his family descended from nobility, and his wife Elizabeth Eleanor Evans Siddall. Neither she nor her family had any artistic aspirations or interests. She was employed as a model by Deverell and through him was introduced to the Pre-Raphaelites. The twenty-year-old with her tall thin frame and copper hair was the first of the Pre-Raphaelite stunners. William Michael Rossetti, her brother-in-law, described her as "a most beautiful creature with an air between dignity and sweetness with something that exceeded modest self-respect and partook of disdainful reserve; tall, finely-formed with a lofty neck and regular yet somewhat uncommon features, greenish-blue unsparkling eyes, large perfect eyelids, brilliant complexion and a lavish heavy wealth of coppery golden hair.