Related Paintings of unknow artist :. | Hyenan - as it were jackal - tin be one bath fascinate and pleasant creature | Day of Sedgemoor | Horses 013 | Details of King Harold falls in battle | A cherry bush |
Related Artists:
Franz Skarbina
German, 1849-1910
PULIGO, Domenico
Italian Painter, 1492-1527 He trained in Florence with Ridolfo Ghirlandaio and in the workshops of Antonio del Ceraiuolo ( fl 1st half 16th century) and Andrea del Sarto. What may be his earliest surviving work, the Virgin and Child with St John (c. 1513; Rome, Pal. Venezia), reflects the style of Ghirlandaio. Other early paintings, however, such as the Holy Family (Florence, Gal. Corsini), show the influence of Fra Bartolommeo and Andrea del Sarto and are little affected by Ghirlandaio. The Virgin and Child with the Infant St John (c. 1522; Florence, Pitti) clearly reflects the examples of Fra Bartolommeo and Raphael, with the figures in the manner of Andrea del Sarto. The figure of the Christ Child may derive from Raphael's Madonna of the Pinks (c. 1507-8; Alnwick Castle, Northumb., on loan to London, N.G.). Over a dozen drawings have been attributed to Puligo, but none relates to his extant work or resembles his style of painting. Vasari described him as a particularly lazy artist, which may account for this scarcity of drawings and for the frequency of borrowed motifs and repeated compositions in his smaller religious paintings. Such borrowing often resulted in a lack of harmony in his compositions, as in the Pitti Virgin and Child. The influence of the more sculptural forms of Andrea del Sarto's work of the 1520s can be seen in the Mary Magdalene (c. 1525; Ottawa, N.G.).
Jan Weenix
Dutch Baroque Era Painter , Amsterdam 1640/42-1719 Painter and draughtsman, son of (1) Jan Baptist Weenix. Jan probably received his first instruction as a painter from his father, and it is possible that he helped finish certain of his father's works. He probably remained in Utrecht after his father's death. By 1664 he had become a member of the Guild of St Luke in Utrecht without, however, having submitted the required entrance painting, which he provided by 1668. There are several documented references to Jan in the late 1660s. He inherited a legacy along with his uncle, the painter Barent Micker, and other family members in 1667, at which time Gillis, his younger brother, apparently still required a guardian. He received another legacy in 1668, the year of his marriage, and in 1669 served as a witness for the inventory of the painter Jacob de Hennin (1629-c. 1688) in The Hague.