Matevž Langus, slovenski slikar in freskant, * 9. september 1792, Kamna Gorica pri Kropi, † 19. julij 1855, Ljubljana. Rodil se je v fužinarskem kraju pod Jelovico v kovaški družini. Sprva je delal kot žebljar v domači vasi, nato pa se je šolal v Celovcu v delavnici Johanna Schreibersa, pri katerem je ostal šest let. Leta 1817 se je vrnil na Kranjsko in se naselil v Ljubljani. Kasneje bil po priporočilu profesorja Kavčiča sprejet na dunajsko akademijo, vendar je zaradi gmotnih težav opravil le dva letnika študija. Leta 1821 se je ponovno naselil v Ljubljani kot poklicni slikar. V letih 1824 do 1826 je živel v Rimu, kjer je bil vpisan na rimsko Francosko akademijo (L'Academie de France).  Related Paintings of Matevz Langus :. | The Opening of Waterloo Bridge | Study of Boy in Attitude of Defence | Yellow Wood | Builder | Amedee David |
Related Artists:
LINGELBACH, Johannes
Dutch Baroque Era Painter, 1622-1674 German painter, active in the Netherlands and Italy. By 1634 his family had settled in Amsterdam, where presumably Lingelbach trained as a painter. According to Houbraken, he visited France in 1642 and arrived in Italy two years later. However, he is not mentioned in any document of 1644, although he is recorded in Rome from 1647 to 1649. The artist left Rome in 1650 and by 1653 was back in Amsterdam, where he remained until his death. Lingelbach is perhaps the only one of the Dutch Italianates with a catalogue of numerous signed and dated works to document his artistic development. The first two signed works are The Blacksmith (1650; Rome, Melmeluzzi priv. col., see Briganti, Trezzani and Laureati, fig. 10.1) and Self-portrait with Violin (1650; Zurich, Ksthaus). Unfortunately no certain works survive from the previous years. Kren (1982) attributed a series of works depicting Roman trades, some formerly ascribed to Pieter van Laer, to Lingelbach's early career. The original group consisted of three small paintings: the Acquavita-seller, the Cake-seller and The Tobacconist (all Rome, Pal. Corsini). While these paintings have some striking points in common with the Melmeluzzi Blacksmith of 1650 and the signed Dentist on Horseback (1651; Amsterdam, Rijksmus.), it is still uncertain whether they belong to Lingelbach's pre-1650 work or are by another hand
Giovanni Battista Piazzetta
(also called Giambattista Piazzetta or Giambattista Valentino Piazzetta) (February 13, 1682 or 1683 ?C April 28, 1754) was an Italian rococo painter of religious subjects and genre scenes. Piazzetta was born in Venice, the son of a sculptor Giacomo Piazzetta, from whom he had early training in wood carving. Starting in 1697 he studied with the painter Antonio Molinari. By Piazzetta's account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703-05, although there is no record by Crespi of formal tutelage. Piazzetta did find inspiration in Crespi's art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm. He was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino. Around 1710, he returned to Venice. There he won recognition as a leading artist despite his limited output and his unassuming nature, but he ultimately was less patronized, both in Venice and especially abroad, than two other eminent stars in Venetian late-Baroque/Rococo, Ricci and Tiepolo. These two painters had a luminous palette and facile ease that allowed them to carpet meters of ceiling with frescoes, although with a superficiality and glamor that is absent from Piazzetta's darker and more intimate depictions. Nonetheless,Tiepolo, who collaborated with Piazzetta on some projects, was greatly influenced by the older artist; in turn, the luminosity and brilliance of Tiepolo's palette would influence Piazzetta in his later years. Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer(1740, now in Gallerie dell'Accademia, Venice). He brought similar elusiveness to works of a religious nature, such as the Sotto in su Glory of St. Dominic in the Church of Santi Giovanni e Paolo. Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. He also produced engravings. In 1750 Piazzetta became the first director of the newly founded Scuola di Nudo, and he devoted himself in the last few years of his life to teaching. He was elected a member of the Bolognese Accademia Clementina in 1727. Among the painters in his studio were Domenico Maggiotto, Francesco Dagiu (il Capella), John Henry Tischbien the Elder, Egidio Dall'Oglio, and Antonio Marinetti.[1] Among younger painters who emulated his style are Giulia Lama, Federico Bencovich, and Francesco Polazzo (1683?C1753). He died in Venice in 1754.
Franciszek Smuglewicz
(October 6, 1745 - September 18, 1807) was a Polish-Lithuanian draughtsman and painter. Smuglevičius is considered as a progenitor of Lithuanian art in the modern era.Some scholars consider him as a spiritual father of Jan Matejko's school of painting.[citation needed]. His brother was Antoni Smuglewicz. Smuglewicz was born in Warsaw into a Polish-Lithuanian familyHis father, Łukasz Smuglewicz, also a painter, had moved to Warsaw from the province of Samogitia. In 1763 Franciszek journeyed to Rome, where he began the study of fine arts under the tutorship of Anton von Maron. He stayed in Rome for the next 21 years, where he embraced the Neo-Classical style. In 1765 he received a royal scholarship from king Stanisław August Poniatowski and was admitted into the Saint Lucas Academy. As a colleague of Vincenzo Brenna he participated in cataloging artifacts from Nero`s Domus Aurea. In 1784 he returned to Warsaw, where he founded his own school of fine arts, one of the predecessors of the modern Academy of Fine Arts.