Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,   Related Paintings of MAGNASCO, Alessandro :. | Interrogations in Jail | Annunciation (detail) sg | Christ Adored by Two Nuns | Christ Served by Angels | Seascape with Fishermen and Bathers (mk08) |
Related Artists:
Perov, Vasily
Russian Painter, 1834-1882 Russian painter. Son of a public prosecutor, he studied intermittently at Arzamas from 1846 to 1849 at the Art School of Alexander Stupin (1776-1862), a classicist painter whose School was the first of its type in provincial Russia, and during the 1850s at the Moscow School of Painting, Sculpture and Architecture under Sergey Zaryanko. The work of Pavel Fedotov, pictorial satire in the press and genre scenes by the Old Dutch masters and William Hogarth were the greatest formative influences on Perov. His early works, permeated by a Biedermeier romantic spirit, combine detailed brushwork with anecdotal narrative and aim at criticizing social behaviour in line with the contemporary democratic doctrines of such writers as Nikolay Chernyshevsky. Such anti-clerical pictures as the Village Sermon (1861; Moscow, Tret'yakov Gal.) are distinguished by a particular irony. As in the prose of Nikolai Leskov, which has many affinities with Perov's painting, there is a conflict between feelings of love and hatred, and between an intimate knowledge of the daily life of the people and an alienating irony. In 1862-4 Perov travelled abroad, working mainly in Paris, where he painted a series of vivid genre scenes of city life. Perov's success as a genre painter reached its peak in the latter half of the 1860s. His compositions become more laconic and expressive; overcoming an indisciplined use of colour, he achieved an impressive unity with an austere greyish-brown palette. Such works as the Drowned Girl (1867) and the Last Tavern by the City Gates
William Dobson
1610-1646 English William Dobson Locations William Dobson (March 4, 1610 ?C October 28, 1646) was a portraitist and one of the first notable English painters, praised by his contemporary John Aubrey as the most excellent painter that England has yet bred. Dobson was born in London the son of a decorative artist, and was apprenticed to William Peake and probably later joined the studio of Francis Cleyn. He is believed to have had access to the Royal Collection and to have copied works by Titian and Anthony Van Dyck, King Charles I chief painter. The colour and texture of Dobson work was influenced by Venetian art, but Van Dyck style has little apparent influence on Dobson. Van Dyck himself discovered Dobson when he noticed one of the young artists pictures in a London shop window. He introduced Dobson to the King, who had Dobson paint himself, his sons and members of the court. When Van Dyck died in 1641, Dobson probably succeeded him as sergeant-painter to the King, though proof is lacking. During the English Civil War Dobson was based at the Royalist centre of Oxford and painted many leading Cavaliers. His portrait of the future Charles II as Prince of Wales at the age of around twelve is a notable baroque composition, and perhaps his finest work. He also painted the Duke of York, Prince Rupert of the Rhine and Prince Maurice. Charles II when Prince of Wales, circa 1642 or 1643.Around sixty of Dobson works survive, mostly half-length portraits most of them dated from 1642 or later. The thick impasto of his early work gave way to a mere skim of paint, perhaps reflecting a wartime scarcity of materials. After Oxford fell to the Parliamentarians, in June 1646, Dobson returned to London. Now without patronage, he was briefly imprisoned for debt and died in poverty at the age of thirty-six. Dobson is regarded as a talented painter with a fine sense for colour and good powers of observation. However, an entirely English training such as Dobson could not be first rate in the early 17th century and he had technical weaknesses[citation needed]. There are examples of Dobson work at Tate Britain and the National Portrait Gallery in London and at several English country houses. The most comprehensive study of Dobson and his work is William Dobson, 1611?C1646 an exhibition catalogue written by M. Rogers for a 1983 exhibition at the National Portrait Gallery.
Virgilio Mauricio
painted A hora do prazer in 1914 1892-1937