1609-60 Dutch painter. She painted genre scenes, portraits and still-lifes, and she may also have made small etchings; no drawings by her are known. She specialized in small intimate genre scenes, usually with women seated by candlelight, and single half-length figures set against a neutral background.  Related Paintings of Judith leyster :. | Judith Leyster | Self Portrait | Merry Trio | Man offering money to a young woman | The Concert |
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RICCI, Marco
Italian Painter, 1676-1730 Painter, printmaker and stage designer, nephew of (1) Sebastiano Ricci. He probably began his career in Venice in the late 1690s as his uncle's pupil, concentrating on history paintings (untraced). Having murdered a gondolier in a tavern brawl, he fled to Split in Dalmatia, where he remained for four years and was apprenticed to a landscape painter (Temanza, 1738). Once back in Venice (c. 1700) he put this training to use in painting theatrical scenery. Little is known about his early development, and it remains difficult to establish a chronology for his work. A group of restless, romantic landscapes (examples, Leeds, Temple Newsam House; Padua, Mus. Civ.), painted with lively, free strokes and formerly thought to represent his early period, have now been convincingly attributed (Moretti) to Antonio Marini (1668-1725). His earliest dated works, a tempera painting, View with Classical Ruins (1702; priv. col.), and a Landscape with Fishermen (1703; ex-Kupferstichkab., Berlin; untraced), are serene and classical, close in style to tempera paintings generally dated 1710-30. This suggests that Ricci's style did not develop much, and that strong classicizing tendencies,
Pearson, Joseph Jr.
American, 1876-1951
Mancini, Antonio
Italian Academic Painter, 1852-1930 Italian painter. He entered the Istituto di Belle Arti, Naples, at the age of 12; while still an adolescent he produced accomplished works such as Head of a Young Girl (1867; Naples, Capodimonte). On his graduation in 1873, Mancini, together with Francesco Paolo Michetti and Vincenzo Gemito, was at the forefront of VERISMO in Neapolitan art. Sharing a studio with Gemito, he painted the street boys, musicians and dancers of Naples, creating an anti-academic, popular art. His patron, Albert, Count Cahen of Antwerp (1846-1903), encouraged him to visit Paris in 1875, where he met Manet and Degas. After a second visit in 1877