Italian High Renaissance Painter, ca.1430-1516 (b ?1431-6; d Venice, 29 Nov 1516). Painter and draughtsman, son of (1) Jacopo Bellini. Although the professional needs of his family background may have encouraged him to specialize at an early date in devotional painting, by the 1480s he had become a leading master in all types of painting practised in 15th-century Venice. Later, towards the end of his long life, he added the new genres of mythological painting and secular allegory to his repertory of subject-matter. His increasing dominance of Venetian art led to an enormous expansion of his workshop after c. 1490; and this provided the training-ground not only for his numerous shop-hands and imitators (generically known as Belliniani) but probably also for a number of major Venetian painters of the next generation. Throughout his career, Giovanni showed an extraordinary capacity for absorbing a wide range of artistic influences, both from within Venetian tradition and from outside. He also oversaw a technical revolution in the art of painting, involving the gradual abandonment of the traditional Italian use of egg tempera in favour of the technique of oil painting pioneered in the Netherlands. It was thanks to Giovanni Bellini that the Venetian school of painting was transformed during the later 15th century from one mainly of local significance to one with an international reputation. He thus set the stage for the triumphs of Venetian painting in the 16th century and for the central contribution that Venice was to make to the history of European art.  Related Paintings of Giovanni Bellini :. | Christ in Gethsemane | Saints Christopher Jerome and Louis of Toulouse | Pieta | Resurrection of Christ | Naked Young Woman in Front of the Mirror |
Related Artists:
Antoni Piotrowski
(Bulgarian: Antoni Pyotrovski; 1853-1924) was a Polish Romanticist and Realist painter. Piotrowski was born in Nietulisko Duże in 1853 near Kunew, then in the Russian Empire (today in Poland), to a sheet iron worker. From 1869 on, Piotrowski studied painting with professor Wojciech Gerson. From 1875 to 1877 he was tutored in Munich by Wilhelm Lindenschmit the Younger and from 1877 to 1879 his teacher was Jan Matejko of the Academy of Fine Arts in Krakew. In 1879, Piotrowski arrived to the newly-liberated Principality of Bulgaria as a correspondent of the British issues The Graphic and The Illustrated London News and the French Illustration and Le Monde Illustre. He moved to Paris only to return to Bulgaria in 1885 to join the Serbo-Bulgarian War as a Bulgarian volunteer. For his merits during the fighting he was honoured with an Order of Bravery. During his time in the Bulgarian Army Piotrowski painted the Battle of Slivnitsa, the storming of Tsaribrod and the Bulgarian entry in Pirot. All his nine military works were purchased by the Bulgarian state and are exhibited in the National Museum of Military History in Sofia. He also published graphics from the war in various Western European illustrated issues. Among his works were also portraits of Bulgarian princes (knyaze) Alexander of Battenberg and Ferdinand of Saxe-Coburg-Gotha; Piotrowski was awarded an Order of Civil Merit by the latter. Piotrowski returned to Bulgaria in 1889: he visited Batak and painted his epic canvas The Batak Massacre. This painting of his won an award at the Plovdiv Fair in 1892. In 1900 Piotrowski returned to Poland and settled in Warsaw.
Wolfgang Heimbach
c.1600/1615-after 1678, German painter. The son of a bookkeeper at the corn exchange, he was known because of a disability as 'the Ovelg?nne mute'. An aristocratic sponsor, probably Graf Anton G?nther (1603-67) of Oldenburg, sent him to train in the Netherlands: stylistic considerations would suggest that this was in the 1630s. The Evening Scene (1637; ex-art market, Berlin; G?ttsche, no. 8) shows him adapting the style of Caravaggio as practised in Utrecht to the kind of social gathering depicted by Dirck Hals or Anthonie Palamedesz. He uses an artificial light source to exaggerate the modelling of the figures and the space. This characteristic of his art also shows in the Evening Banquet of 1640
Jean-Louis Hamon
Plouha 1821 - Saint - Raphael, 1874. French Academic Painter, 1821-1874. Studied under Charles Gleyre. French Academic Painter, 1821-1874. Studied under Charles Gleyre. French painter and designer. He was encouraged to practise drawing by the Brothers of the Christian Doctrine at Lannion. Through the intervention of Felicite-Robert de Lamennais (1782-1854), he was made drawing-master at a religious seminary at Ploermel, Brittany, although at this stage he had received no instruction and had never seen an oil painting. In 1840 he asked his conseil general for help and left for Paris the following year with a grant of 500 francs. He went to Delaroche's studio, where he made friends with Picou, Jean-Leon Gereme, Jean Aubert (1824-1906) and Jean Eugene Damery (1823-53). Charles Gleyre, who took over Delaroche's studio in 1843, encouraged and protected him during years of poverty.