1528-1588 Paolo Veronese Galleries Italian painter and draughtsman. With Titian and Tintoretto he makes up the triumvirate of great painters of the late Renaissance in Venice. He is known as a supreme colourist and for his illusionistic decorations in both fresco and oil. His large paintings of biblical feasts executed for the refectories of monasteries in Venice and Verona are especially celebrated. He also produced many altarpieces, history and mythological paintings and portraits. His compositional sketches in pen, ink and wash, figure studies in chalk, and chiaroscuro modelli and ricordi form a significant body of drawings. He headed a family workshop that remained active after his death.  Related Paintings of Paolo Veronese :. | time and fame | triumph of mordechai | supper at emmaus | the mystic marriage of st. | The Marriage of St Catherine |
Related Artists:
Alfred Stieglitz
American Photographer, 1864-1946..S. photographer and exhibitor of modern art. He was taken to Europe by his wealthy family to further his education in 1881. In 1883 he abandoned engineering studies in Berlin for a photographic career. Returning to the U.S. in 1890, he made the first successful photographs in snow, in rain, and at night. In 1902 he founded the Photo-Secession group to establish photography as an art. His own best photographs are perhaps two series (1917 C 27), one of portraits of his wife, Georgia O'Keeffe, and the other of cloud shapes corresponding to emotional experiences. His photographs were the first to be exhibited in major U.S. museums.
Francois-Joseph Heim
1787-1865 French Francois-Joseph Heim Gallery He was born at Belfort. He early distinguished himself at the Ecole Centrale of Strassburg, and in 1803 entered the studio of Vincent at Paris. In 1807 he obtained the first prize, and in 1812 his picture of The Return of Jacob (Musee de Bordeaux) won for him a gold medal of the first class, which he again obtained in 1817, when he exhibited, together with other works, a St John-bought by Vivant Denon. In 1819 the Resurrection of Lazarus (Cathedral Autun), the Martyrdom of St Cyr (St Gervais), and two scenes from the life of Vespasian (ordered by the king) attracted attention. In 1823 the Re-erection of the Royal Tombs at St Denis, the Martyrdom of St Laurence (Nôtre Dame) and several full-length portraits increased the painter popularity; and in 1824, when he exhibited his great canvas, the Massacre of the Jews (Louvre), Heim was rewarded with the Legion of Honour. In 1827 appeared the King giving away Prizes at the Salon of 1824 (Louvre-engraved by Jazet) the picture by which Heim is best known and Saint Hyacinthe. Heim was now commissioned to decorate the Gallery Charles X (Louvre). Though ridiculed by the romantists, Heim succeeded Regnault at the Institute in 1834, shortly after which he commenced a series of drawings of the celebrities of his day, which are of much interest. His decorations of the Conference room of the Chamber of Deputies were completed in 1844; and in 1847 his works at the Salon Champ de Mai and Reading a Play at the Theatre Francais were the signal for violent criticisms. Yet something like a turn of opinion in his favour took place at the exhibition of 1851; his powers as draughtsman and the occasional merits of his composition were recognized, and toleration extended even to his colour. Heim was awarded the great gold medal, and in 1855-having sent to the Salon no less than sixteen portraits, amongst which may be cited those of Cuvier, Geoffroy de St Hilaire, and Madame Hersent he was made officer of the legion of honour. In 1859 he again exhibited a curious collection of portraits, sixty-four members of the Institute arranged in groups of four. Besides the paintings already mentioned, there is to be seen in Notre Dame de Lorette (Paris) a work executed on the spot; and the museum of Strassburg contains an excellent example of his easel pictures, the subject of which is a Shepherd Drinking from a Spring.
RICCI, Marco
Italian Painter, 1676-1730 Painter, printmaker and stage designer, nephew of (1) Sebastiano Ricci. He probably began his career in Venice in the late 1690s as his uncle's pupil, concentrating on history paintings (untraced). Having murdered a gondolier in a tavern brawl, he fled to Split in Dalmatia, where he remained for four years and was apprenticed to a landscape painter (Temanza, 1738). Once back in Venice (c. 1700) he put this training to use in painting theatrical scenery. Little is known about his early development, and it remains difficult to establish a chronology for his work. A group of restless, romantic landscapes (examples, Leeds, Temple Newsam House; Padua, Mus. Civ.), painted with lively, free strokes and formerly thought to represent his early period, have now been convincingly attributed (Moretti) to Antonio Marini (1668-1725). His earliest dated works, a tempera painting, View with Classical Ruins (1702; priv. col.), and a Landscape with Fishermen (1703; ex-Kupferstichkab., Berlin; untraced), are serene and classical, close in style to tempera paintings generally dated 1710-30. This suggests that Ricci's style did not develop much, and that strong classicizing tendencies,