Romanian Painter, 1838-1907 From 1848 he trained in Bucharest with various church painters, producing icons and religious mural decorations. These works, which soon attracted attention, were influenced in style by the Viennese classicism widespread in the Romanian principalities in the early 19th century and by the Italian academicism established there after 1850 by Gheorghe Tattarescu. The earliest of his known paintings are in the church of SS Constantin and Elena at Baicoi, where his signature can be seen beside that of Nita Pereescu on the icon of St George (1853). He subsequently painted a series of icons (1854-5) at Caldarusani Monastery. In the later ensembles he was assisted by his older brother Georghe Grigorescu, who participated under his direction in the decoration of churches, such as those of the Zamfira (1856-8) and Agapia (1858-60) monasteries. In Nicolae's paintings at Agapia, classicism in Romanian art reached its highest point. The royal icons are distinguished for the elegance of the figures, both in their attitudes and in their drapery.   Related Paintings of Nicolae Grigorescu :. | Portrait of a little girl | Portrat der Frau Alexianu | Self-Portrait | Young Woman with her Bundle | Portrait of the Great Boyar Nicolae Grigorescu |
Related Artists:
Johann Heinrich Fuseli
1741-1825 Romanticism Swiss
Geskel Saloman
painted The Love Letter in 1889
Sebastien Bourdon
(2 February 1616 - 8 May 1671) was a French painter and engraver. His chef d'œuvre is The Crucifixion of St. Peter made for the church of Notre Dame. The Finding of Moses, c. 1650 (National Gallery of Art, Washington)Bourdon was born in Montpellier, France, the son of a Protestant painter on glass. He was apprenticed to a painter in Paris. In spite of his poverty he managed to get to Rome in 1636; there he studied the paintings of Nicolas Poussin, Claude Lorrain and Caravaggio among his eclectic selection of models, until he was forced to flee in 1638, to escape denunciation by the Inquisition for his Protestant faith. Bourdon's facility rendered him adept at portraiture, whether in a dashing Rubens manner or in intimate, sympathetic bust-length or half-length portraits isolated against plain backgrounds that set a formula for middle-class portraiture for the rest of the century, landscapes in the manner of Gaspar Dughet or cappricci of ruins, mythological "history painting" like other members of Poussin's circle or the genre subjects of the Dutch Bamboccianti who were working in Rome. His eclectic range of styles have given art historians exercise in tracing his adaptation of his models, while the lack of an immediately recognizable "Bourdon style" has somewhat dampened public appreciation. In 1652 Christina of Sweden made him her first court painter. Bourdon spent most of his working career outside France, where, though he was a founding member of the Academie de peinture et de sculpture (1648), he was for long largely dismissed as a pasticheur, a situation partly rebalanced by a comprehensive exhibition in 2000 of his work at the Musee Fabre, where the collection includes a fine Lamentation painted in the last years of his life. His success required the establishment of an extensive atelier, where, among his other pupils worked Nicolas-Pierre Loir and Pierre Mosnier. He died in Paris in 1671.