1696-1770 Italian painter, master of Venetian school. Tiepolo was famous in his own lifetime as a superb painter in fresco and a brilliant draftsman. A highly inventive artist, he could create spectacular effects in difficult sites, from the narrow gallery at the patriarchal palace at Udine in the mid-1720s to the vast staircase ceiling in the Residenz at Werzburg in the early 1750s. Contemporaries recognized his spirited, dynamic approach to subject matter and his frankly sensuous manner of painting. Tiepolo is comparable in his restless energy and imaginative power to Peter Paul Rubens, and essentially he worked with a similar baroque language of myth, allegory, and history, which he infused with a sense of freshness and modernity. His approach to religious art is characterized by candor and naturalism, while he was responsive to the different concerns of patrons and viewers at a time when the church was faced with new kinds of devotion and criticism. With the advent of neoclassicism, Tiepolo's art fell from favor: In an age that prized archaeological correctness, rationality, and ideals of improvement, his witty, Veronese-inspired conception of historical or classical subjects seemed frivolous, while his visually seductive qualities were seen as inimical to the serious intellectual aims of the new art. Nevertheless, his drawings and oil sketches continued to appeal to collectors, including Antonio Canova. The son of a Venetian shipping merchant, Tiepolo was apprenticed in 1710 to Gregorio Lazzarini (1655C1730), an artist of international reputation patronized by prominent Venetian families. Before becoming an independent master, he worked in the household of Doge Giovanni Corner; members of the Corner family were to be his most steadfast and liberal patrons. Lazzarini encouraged his pupils to study Venetian sixteenth-century art, and Tiepolo made drawings of some famous works for publication in Domenico Lovisa's Gran Teatro di Venezia of 1717. His early involvement with the thriving Venetian engraving and publishing world was renewed in 1724 when he made drawings of antique sculpture as illustrations for Scipione Maffei's Verona Illustrata, an experience that gave Tiepolo an imaginative empathy with fragmentary antique remains, which recur in his drawings, etchings, and paintings. As well as studying the art of the past, Tiepolo looked to the tenebrism of Federico Bencovich (1677C1753) and the realism and monumentality of Giovanni Battista Piazzetta (1682C1754). In 1719 Tiepolo married Cecilia Guardi, with whom he was to have nine children. By then, the artist was working for a network of mercantile and noble patrons on religious and secular subjects.  Related Paintings of Giambattista Tiepolo :. | Recreation by our Gallery | St James the Greater Conquering the Moors | Details of The Death of Hyacinthus | Abraham and the Angels | Recreation by our Gallery |
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Francois Joseph Heim
(16 December 1787 - 29 September 1865) was a French painter. He was born at Belfort. He early distinguished himself at the École Centrale of Strassburg, and in 1803 entered the studio of Vincent at Paris. In 1807 he obtained the first prize, and in 1812 his picture of "The Return of Jacob" (Musee de Bordeaux) won for him a gold medal of the first class, which he again obtained in 1817, when he exhibited, together with other works, a St John--bought by Vivant Denon. In 1819 the "Resurrection of Lazarus" (Cathedral Autun), the "Martyrdom of St Cyr" (St Gervais), and two scenes from the life of Vespasian (ordered by the king) attracted attention. In 1823 the "Re-erection of the Royal Tombs at St Denis," the "Martyrdom of St Laurence" (Nôtre Dame) and several full-length portraits increased the painter's popularity; and in 1824, when he exhibited his great canvas, the "Massacre of the Jews" (Louvre), Heim was rewarded with the Legion of Honour. In 1827 appeared the "King giving away Prizes at the Salon of 1824" (Louvre--engraved by Jazet) the picture by which Heim is best known and "Saint Hyacinthe." Heim was now commissioned to decorate the Gallery Charles X (Louvre). Though ridiculed by the romantists, Heim succeeded Regnault at the Institute in 1834, shortly after which he commenced a series of drawings of the celebrities of his day, which are of much interest. His decorations of the Conference room of the Chamber of Deputies were completed in 1844; and in 1847 his works at the Salon "Champ de Mai" and "Reading a Play at the Theâtre Français" were the signal for violent criticisms. Yet something like a turn of opinion in his favour took place at the exhibition of 1851; his powers as draughtsman and the occasional merits of his composition were recognized, and toleration extended even to his colour. Heim was awarded the great gold medal, and in 1855--having sent to the Salon no less than sixteen portraits, amongst which may be cited those of Cuvier, Geoffroy de St Hilaire, and Madame Hersent he was made officer of the legion of honour. In 1859 he again exhibited a curious collection of portraits, sixty-four members of the Institute arranged in groups of four. Besides the paintings already mentioned, there is to be seen in Nôtre Dame de Lorette (Paris) a work executed on the spot; and the museum of Strassburg contains an excellent example of his easel pictures, the subject of which is a Shepherd Drinking from a Spring. cjr
staffan hallstrom
Staffan Hallström, född 1914 i Stockholm, död 1976, var en svensk målare och tecknare. Staffan Hallström föräldrar var Gustaf Hallström, antikvarie vid Statens historiska museum och Astrid Hallström, född Berg. Han studerade på Gerlesborgsskolan, Tekniska skolan 1932-34 och vid Kungliga Konsthögskolan i Stockholm 1935-41 för bland annat Isaac Grenewald och Olle Hjortzberg 1935-41. Han företog studieresor till Frankrike, Italien, Nederländerna och Belgien. Staffan Hallström bodde och arbetade under 1940-talet i Saltsjö-Duvnäs, där han hyrde rum av konstnären Olle Nyman. Han fick då kontakt med Evert Lundqvist, som inspirerade honom och gav honom stöd. Tillsammans med Olle Nyman, Evert Lundqvist och Roland Kempe ingick han i Saltsjö-Duvnäs-gruppen. Senare hade han även atelje på Varvsgatan och kombinerad bostad och atelje vid Brunkebergstorg. År 1946 hade han sin debututställning på Konstnärshuset i Stockholm. Han slog igenom med utställningen Hundra målningar på Konstakademien 1961 och spåddes då lysande framtid framför allt av skulptören Torsten Renqvist. Staffan Hallström, arbetade i nyexpressionistisk stil och bland hans mest kända verk är Ingens hundar från 1958, som köptes in av Moderna museet. Detta motiv målade han sedan i olika versioner. Tillsammans med Lasse Andreasson gestaltade han 1972 Masmos tunnelbanestation med verket Ta ned solen i tunnelbanan, målningar på plåt utefter spårväggarna. Han är representerad på bland annat Moderna och Nationalmuseum. .
George Washington