(1613 - 29 January 1678) was an Italian painter and etcher of the early Baroque era. Born probably in Venice, Carpioni studied under Alessandro Varotari (il Padovanino) and was also influenced by the work of Simone Cantarini, Carlo Saraceni and Jean Leclerc. He came into contact with Lombard art after a brief visit to Bergamo in 1631. In 1638 he settled in Vicenza and executed most of his work there. He painted history and bacchanals, and also sacred subjects of a small size, many of which are to be seen in the churches in the Venetian states. Paintings by him may be seen in the Galleries of Augsburg, Dresden, Vienna, Modena, and Florence. He was also an etcher; his best plates being St. Anthony of Padua, Christ on the Mount of Olives, The Virgin reading, and The Virgin with Rosary. He died at Verona. Carlo Carpioni, his son, was also a painter. Among his important works are the Apotheosis of the Dolfin family (1647) and the Allegory of the Grimani Family (1651), and altarpiece of Sant'Antonio da Padova, a Virgin and two saints, and a Triumph of Silenus in the Gallerie dell Accademia of Venice. He painted a series of canvases for the Oratory of San Nicola da Tolentino in Vicenza.   Related Paintings of Giulio Carpioni :. | Apollo and Marsyas | Bacchanal | Crucifixion | Liriope Bringing Narcissus before Tiresias | Bacchanal |
Related Artists:
Victor Mottez
Lille 1809-Bievres (Essonne)1897 .was a French fresco painter, painter and portraitist. His father was passionate about art and painted himself. Sent to Paris with a pension for some years, Victor was recalled due to the poor state of his father's finances and his studies were cut short. He followed courses at the École de dessin in Lille and worked under the direction of his father and his father's painter friends such as Édouard Lienard, student of Jacques-Louis David. He returned to Paris from 1828 to 1829 to enter the École des Beaux-Arts and at first studied under the direction of François-Édouard Picot, then as a free student of Dominique Ingres. The Mottez family was highly religious and devoted to the House of Bourbon, and so the July Revolution in 1830 came as a catastrophe to them. Victor was again recalled to Lille by his father and married shortly afterwards. From there he made many trips, of which the longest and most notable was that to Italy and he came to consider its old masters as the absolute masters of painting. In Rome he met Ingres again - Ingres liked him very much and often gave him advice. His Christ in the Tomb (now in the glise Sainte-Catherine de Lille) and The Martyrdom of Saint Stephen (now in the glise Saint-Étienne de Lille) date to this era. Also on this trip to Italy he became hugely interested in fresco art - Mottez painted his wife Julie in this medium and, showing Ingres the end result, pulled it off the wall at Ingres' request (it was later given to the Louvre by Mottez's two children). Returning to France in 1838, he set up shop in Paris and exhibited at the Paris Salons, especially turning more and more towards the neglected genre of frescoes, notably religious ones. He also translated the Treatise by the 14th century Florentine painter Cennino Cennini and learned from his techniques. His most remarkable works are those for churches (at Église Saint-Germain-l'Auxerrois in the 1840s, and at the Saint-Severin in the 1850s), which were admired by Ingres and Delacroix. However, the clergy's hostility to them, the materials used, the saltpeter walls and their situation all meant that they were already deteriorated by the end of the 19th century and are now largely lost (except for Saint Martin cutting his cloak in two at St-Germain l'Auxerrois), though Mottez's cartoons for them survive. During the same years he frequented the Bertins' salon, alongside the main writers and artists of the time (a sketch of his for a portrait of Victor Hugo survives). He produced two frescoes for this salon, destroyed in 1854. After the 1848 Revolution Mottez set out for the United Kingdom, where he produced several portraits of British nobles and personalities and the exiled minister François Guizot, which were exhibited at the Royal Academy salons.
George Mosson
George Mason IV (December 11, 1725 - October 7, 1792) was an American Patriot, statesman and a delegate from Virginia to the U.S. Constitutional Convention. Along with James Madison, he is called the "Father of the Bill of Rights."[1][2][3][4] For these reasons he is considered one of the "Founding Fathers" of the United States.[5][6] Like anti-federalist Patrick Henry, Mason was a leader of those who pressed for the addition of explicit States rights[7] and individual rights to the U.S. Constitution as a balance to the increased federal powers, and did not sign the document in part because it lacked such a statement. His efforts eventually succeeded in convincing the Federalists to add the first ten amendments of the Constitution. These amendments, collectively known as the Bill of Rights, were based on the earlier Virginia Declaration of Rights, which Mason had drafted in 1776. On the nagging issue of slavery, Mason walked a fine line. Although a slaveholder himself, he found slavery repugnant for a variety of reasons. He wanted to ban further importation of slaves from Africa and prevent slavery from spreading to more states. However, he did not want the new federal government to attempt to ban slavery where it already existed, because he anticipated that such an act would be difficult and controversial.
Christian Rohlfs
German Painter, 1849-1938 German painter and printmaker. He studied painting at the Kunstschule in Weimar (1870). Prolonged illness forced him to interrupt his studies, which he resumed in 1874 under Ferdinand Schauss (1832-1916) and Alexandre Struys (1852-1941). Through visits to Paris in the 1870s, he came into contact with the art of the Barbizon school, painting en plein-air on his return to Weimar. Under the influence of Struys he painted figurative works, such as Roman Builders (1879; Menster, Westfel. Landesmus.), and nudes in the tradition of academically enlightened Realism. In 1881 Rohlfs worked in a studio under Max Thedy (1858-1924). From c. 1883 he painted mainly landscapes with the approval of Ludwig von Gleichen-Russwurm (1836-1901), who was studying with Theodor Hagen (1842-1919), and was influenced in an indirect way by Albert Brendel (1827-95), who had taught at Weimar from 1875. He often chose formats that were unusually large for landscape paintings in this period, presenting landscape in a similar way to history painting. Atmosphere and light played an important role even in these early pictures, for example Sawmill at Ehringsdorf on the Ilm (930x780 mm, 1883; Weimar, Schlossmus.). From 1884 he worked as an independent painter. After 1885 colour became increasingly important for its own sake; light and shade were suggested purely by colour, which was applied in impasto spots and brushstrokes to create chiaroscuro values that determined the form, for example Wild Garden near Weimar (1888; Weimar, Schlossmus.). By the end of the 1880s he had developed an independent style parallel to Impressionist painting. When he saw works by Monet exhibited in Weimar in 1897, these corroborated his own efforts.