(September 19, 1797 - March 20, 1875) was a Polish painter and Army officer. Suchodolski was born in Grodno and was the brother of Rajnold Suchodolski. From 1832 to 1837 Suchodolski studied in Rome, where he was a pupil of Horace Vernet. Suchodolski became known for his history and battle paintings. He died in Bojmie (near Siedlce).   Related Paintings of January Suchodolski :. | Death of Prince Jozef Poniatowskiin in the Battle of Leipzig. | Furusiyya | Victory of Ochakiv | Stud farm. | A bivouac of Polish Uhlans at Wagram. |
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Louis Comfort Tiffany
American Art Nouveau Stained Glass Artist, 1848-1933 was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass and is the American artist most associated with the Art Nouveau and Aesthetic movements. Tiffany was affiliated with a prestigious collaborative of designers known as the Associated Artists which included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewelry, enamels and metalwork Louis was the son of Charles Lewis Tiffany, founder of Tiffany and Company; and Harriet Olivia Avery Young. Louis married Mary Woodbridge Goddard (c1850-1884) on May 15, 1872 in Norwich, Connecticut and had the following children: Mary Woodbridge Tiffany (1873-1963) who married Graham Lusk; Charles Louis Tiffany I (1874-1874); Charles Louis Tiffany II (1878-1947); and Hilda Goddard Tiffany (1879-1908). After the death of his wife, he married Louise Wakeman Knox (1851-1904) on November 9, 1886. They had the following children: Louise Comfort Tiffany (1887-1974); Julia DeForest Tiffany (1887-1973) who married Gurdon S. Parker then married Francis Minot Weld; Annie Olivia Tiffany (1888-1892); and Dorothy Trimble Tiffany (1891-1979). Many of Tiffany's descendants are active in the arts, politics, and the sciences. Only one descendant is working in glass today- Dr. Rodman Gilder Miller of Seattle, WA,
Giorgione
Italian 1476-1510 Giorgione Galleries For his home town of Castelfranco, Giorgione painted the Castelfranco Madonna, an altarpiece in sacra conversazione form ?? Madonna enthroned, with saints on either side forming an equilateral triangle. This gave the landscape background an importance which marks an innovation in Venetian art, and was quickly followed by his master Giovanni Bellini and others.Giorgione began to use the very refined chiaroscuro called sfumato ?? the delicate use of shades of color to depict light and perspective ?? around the same time as Leonardo. Whether Vasari is correct in saying he learnt it from Leonardo's works is unclear ?? he is always keen to ascribe all advances to Florentine sources. Leonardo's delicate color modulations result from the tiny disconnected spots of paint that he probably derived from manuscript illumination techniques and first brought into oil painting. These gave Giorgione's works the magical glow of light for which they are celebrated. Most entirely central and typical of all Giorgione's extant works is the Sleeping Venus now in Dresden, first recognized by Morelli, and now universally accepted, as being the same as the picture seen by Michiel and later by Ridolfi (his 17th century biographer) in the Casa Marcello at Venice. An exquisitely pure and severe rhythm of line and contour chastens the sensuous richness of the presentment: the sweep of white drapery on which the goddess lies, and of glowing landscape that fills the space behind her, most harmoniously frame her divinity. The use of an external landscape to frame a nude is innovative; but in addition, to add to her mystery, she is shrouded in sleep, spirited away from accessibility to her conscious expression. It is recorded by Michiel that Giorgione left this piece unfinished and that the landscape, with a Cupid which subsequent restoration has removed, were completed after his death by Titian. The picture is the prototype of Titian's own Venus of Urbino and of many more by other painters of the school; but none of them attained the fame of the first exemplar. The same concept of idealized beauty is evoked in a virginally pensive Judith from the Hermitage Museum, a large painting which exhibits Giorgione's special qualities of color richness and landscape romance, while demonstrating that life and death are each other's companions rather than foes. Apart from the altarpiece and the frescoes, all Giorgione's surviving works are small paintings designed for the wealthy Venetian collector to keep in his home; most are under two foot (60 cm) in either dimension. This market had been emerging over the last half of the fifteenth century in Italy, and was much better established in the Netherlands, but Giorgione was the first major Italian painter to concentrate his work on it to such an extent ?? indeed soon after his death the size of such paintings began to increase with the prosperity and palaces of the patrons.
Giovanni Antonio Pellegrini
(29 April 1675 -- November 1741) was a widely-travelled Rococo decorative painter from Venice, where he was born and died. He is considered to be one of the most important Venetian painters of the early 18th century, melding the Renaissance style of Paolo Veronese with the Baroque of Pietro da Cortona and Luca Giordano,and is considered an important predecessor of Giovanni Battista Tiepolo. One of his pupils was Antonio Visentini. Pellegrini's father, also Antonio, was a shoemaker from Padua. Pellegrini first studied under Girolamo Genga, but was later a pupil of Paolo Pagani and of Sebastiano Ricci. He married Angela Carriera, the sister of Rosalba Carriera, in c.1704. Pellegrini decorated the dome above the staircase at the Scuola Grande di San Rocco in 1709. He is mainly known for his work in England, which he visited from 1708 to 1713 at the invitation of the Earl of Manchester, and where he had considerable success. He painted murals in a number of English country houses, including Castle Howard (mostly destroyed in 1940) and Kimbolton Castle, Narford Hall, and in London, 31 St James's Square for the Duke of Portland, where George Vertue noted in his notebooks "the hall and Staircase and one or two of the great rooms". He became a director of Sir Godfrey Kneller's Academy in London in 1711. He submitted designs for the decorating the interior dome of the new St Paul's Cathedral, and is said to have been Christopher Wren's favourite painter, but did not win the commission, losing out to Sir James Thornhill.