Related Paintings of unknow artist :. | Arab or Arabic people and life. Orientalism oil paintings 357 | Sexy body, female nudes, classical nudes 38 | Portratt av kunglig dam | Battle Against the Turks | Seascape, boats, ships and warships. 142 |
Related Artists:
PALMA GIOVANE
Italian Mannerist Painter, ca.1548-1628 Son of Antonio Palma. A greater artist than his father, his vast oeuvre represents the impact of central Italian Mannerism but principally of Jacopo Tintoretto on Venetian painting in the generation after Titian, Tintoretto and Paolo Veronese. He died in his late seventies and was occasionally referred to as 'il vecchio', but since the 17th century he has been known as 'il giovane' to distinguish him from his great uncle. He was virtually self-taught, apart from a presumed acquaintance with his father's workshop. In 1567 he came to the attention of Guidobaldo II della Rovere, Duke of Urbino, who was to support him for four years. A possible knowledge of Federico Barocci's art at the court of Urbino left little trace on his surviving early works. The Duke sent him to Rome for study, where he spent a few months apprenticed to an unknown artist. There his sympathy was with Taddeo Zuccaro and Federico Zuccaro, who influenced the graphic style of the drawing of Matteo da Lecce (1568; New York, Pierpont Morgan Lib.), his first dated work. His Roman sojourn, which lasted until c. 1573-4, made a direct impact on some of his Venetian works and indirectly made him receptive to Tintoretto's style. A tendency in Rome in the 1560s to retreat from the most artificial and decorative aspects of Mannerism in favour of naturalism was also to affect Palma's attitude to style in his mature works
Bartolome Esteban Murillo
Spanish 1618-1682 Bartolome Esteban Murillo Galleries Murillo began his art studies under Juan del Castillo in Seville. Murillo became familiar with Flemish painting; the great commercial importance of Seville at the time ensured that he was also subject to influences from other regions. His first works were influenced by Zurbaran, Jusepe de Ribera and Alonso Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26 he moved to Madrid, where he most likely became familiar with the work of Velazquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. He returned to Seville in 1645. In that year, he painted thirteen canvases for the monastery of St. Francisco el Grande in Seville which gave his reputation a well-deserved boost. Following the completion of a pair of pictures for the Seville Cathedral, he began to specialise in the themes that brought him his greatest successes, the Virgin and Child, and the Immaculate Conception. After another period in Madrid, from 1658 to 1660, he returned to Seville. Here he was one of the founders of the Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect, Francisco Herrera the Younger. This was his period of greatest activity, and he received numerous important commissions, among them the altarpieces for the Augustinian monastery, the paintings for Santa Mar??a la Blanca (completed in 1665), and others.
Vasilii Dmitrievich Polenov
1844-1927