1575-1642 Italian Guido Reni Galleries Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de?? Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style. By late 1601, Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601-1604, his main patron was cardinal Sfondrato. By 1604-1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607-1614, he was one of the painters patronized by Borghese. Abduction of Deianira, 1620-1621.Reni's frescoed ceiling of the large central hall of garden palace, Casino dell'Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese; the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale. The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman Sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne[5] in the Farnese. Reni in this painting is allies himself more with the sterner Cavaliere d'Arpino,Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616. He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino.  Related Paintings of Guido Reni :. | The Coronation of the Virgin | Thronende Madonna mit den Stadtheiligen Bolognas | Kreuzigung des Hl. Petrus | Deianira Abducted by the Centaur Nessus (mk05) | Susannah and the Elders |
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Henri-Edmond Cross
(May 20, 1856 - May 16, 1910) was a French pointillist painter. Cross was born in Douai and grew up in Lille. He studied at the École des Beaux-Arts. His early works, portraits and still lifes, were in the dark colors of realism, but after meeting with Claude Monet in 1883, he painted in the brighter colors of Impressionism. In 1884, Cross co-founded the Societe des Artistes Independants with Georges Seurat. He went on to become one of the principal exponents of Neo-Impressionism. He began his Pointillist period after spending time with Paul Signac in 1904. His later works are Fauvist, perhaps influenced by his acquaintance with Henri Matisse. His final years, plagued by rheumatism, were spent in Saint-Clair[disambiguation needed ], where he died in 1910. His pieces include The Church of Santa Maria degli Angely Near Assisi (1909) and Landscape with Stars. The Allen Memorial Art Museum (Oberlin College, Ohio), the Block Museum of Art (Northwestern University, Illinois), The Art Institute of Chicago, the Fine Arts Museums of San Francisco, Harvard University Art Museums, the Hermitage Museum, the Honolulu Academy of Arts, Kröller-Meller Museum, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, Museum of Grenoble (Grenoble, France), Musee d'Orsay (Paris), Musee Malraux (Le Havre, France), Musee Richard Anacreon (Granville, France), the Museum of Modern Art (New York City), the National Gallery of Art (Washington D.C.), New Art Gallery (Walsall, England), the Tel Aviv Museum of Art and the Thyssen-Bornemisza Museum (Madrid), are among the public collections holding works by Henri-Edmond Cross.
Konstantin Savitsky
Russian Painter, 1844-1905 was a Russian realist painter born in the city of Taganrog in the village Frankovka or Baronovka, named after former governor Otto Pfeilizer-Frank. Today this area is occupied by Taganrog Iron and Steel Factory TAGMET. Savitsky's family lived in the building of Taganrog Gymnasium for Boys, where his father worked as a doctor. In Frankovka the family rented a summer house. Savitsky spent his childhood and youth in Taganrog. He showed an interest for painting in the early childhood. Being on the shore of Azov Sea with his parents, he loved to make sketches, and drawing lessons at Gymnasium were his favourite subject. When Konstantin was fifth-grader at Taganrog Gymnasium, his teenager's life changed unexpectedly. Both of his parents died suddenly. Kostya was taken by his uncle who lived in present-day Latvia and became his guardian. There Savitsky entered a private boarding-school and in 1862 he graduated and left for Saint Petersburg, where entered The Imperial Academy of Arts in Saint Petersburg. Personal contacts with outstanding representatives of Russian culture - Ilya Repin, Ivan Shishkin, Viktor Vasnetsov, Mark Antokolski, Stasov, Nikolai Mikhailovich Karamzin - made a great influence on development of the young artist. Soon Savitsky became one of the best students of the Imperial Academy of Arts. His student paintings were awarded with silver medals and for his painting "Cain and Abel"1871 he received a gold medal. House of Savitsky in Taganrog. TaganrogCity.ComAfter graduation from Imperial Academy of Arts and two years abroad, the artist becomes co-partner of mobile art exhibitions (Peredvizhniki, a group of Russian realist artists who in protest to academic restrictions formed an artists' cooperative, which evolved into the Society for Traveling Art Exhibitions in 1870. The artwork "Repairing Railway" was one of the first paintings of that time dedicated to life of the working class. Konstantin Savitsky is a co-author of the famous painting Morning in the Pine Forest. On the original Peredvizhniki exhibition the painting was shown by two authors Ivan Shishkin and Konstantin Savitsky. It was assumed that Savitsky had painted the bears and Shishkin the forest but later the scholars found that preparational drawing of the pine forest were made by both Savitsky and Shishkin. Later Savitsky withdrew his signature from the painting and it is currently exponated as a sole Shishkin's work. The titles of his artworks as "Lost all their possessions in the fire", "To war", "Herdsmen", "Krutchnik",
John Martin
British 1789-1854 John Martin Gallery His first exhibited subject picture, Sadak in Search of the Waters of Oblivion (now in the St. Louis Art Museum), was hung in the Ante-room of the Royal Academy in 1812, and sold for fifty guineas. It was followed by the Expulsion (1813), Paradise (1813), Clytie (1814), and Joshua Commanding the Sun to Stand Still upon Gibeon (1816). In 1821 appeared his Belshazzar's Feast, which excited much favorable and hostile comment, and was awarded a prize of £200 at the British Institution, where the Joshua had previously carried off a premium of £100. Then came the Destruction of Herculaneum (1822), the Creation (1824), the Eve of the Deluge (1841), and a series of other Biblical and imaginative subjects. The Plains of Heaven is thought to reflect his memories of the Allendale of his youth. Martin's large paintings were inspired by "contemporary dioramas or panoramas, popular entertainments in which large painted cloths were displayed, and animated by the skilful use of artificial light. Martin has often been claimed as a forerunner of the epic cinema, and there is no doubt that the pioneer director D. W. Griffith was aware of his work." In turn, the diorama makers borrowed Martin's work, to the point of plagiarism. A 2000-square-foot version of Belshazzar's Feast was mounted at a facility called the British Diorama in 1833; Martin tried, but failed, to shut down the display with a court order. Another diorama of the same picture was staged in New York City in 1835. These dioramas were tremendous successes with their audiences, but wounded Martin's reputation in the serious art world.