b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.  Related Paintings of Andrea del Sarto :. | Virgin and Child in Glory with Six Saints | Angel | Lamentation of Christ gg | portrait of becuccio bicchieraio | Holy Family |
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Mabel Pryde
(February 12,1871, Edinburgh - July 1918, England.) was an artist, best known for being the wife of artist William Nicholson and mother of artists Ben Nicholson and Nancy Nicholson and the architect Christopher 'Kit' Nicholson. Mabel was the daughter of David Pryde, Headmaster of Edinburgh Ladies College 1870-1891, and Barbara Lauder, whose father William was a brother of the famous Scottish artists Robert Scott Lauder and James Eckford Lauder. Mabel had one brother, the artist James Pryde. As children they lived at 10 Fettes Row, a north-facing Edinburgh house. Pryde trained at the Bushey School of Art under the tutilage of Hubert von Herkomer. Here she met fellow student William Nicholson whom she married in 1893. She introduced Nicholson to her brother James and all three moved to Eight Bells, Denham, Buckinghamshire, where Nicholson and James Pryde would collaborate on the famous series of lithographic posters they disseminated under the pseudonym J. & W. Beggerstaff. Pryde and Nicholson had four children - Ben (1894-1982); Anthony (1897-1918) who was killed in action during the First World War; Annie Mary "Nancy" (1899-1978), and Christopher "Kit" (1904-1948). In July 1918 Pryde died from influenza in during the 1918 flu pandemic and was survived by her husband.
Paul-Camille Guigou
1834-1871 French Paul Camille Guigou Gallery French painter. Born into a family of landowners, he became a notary's clerk at Apt in 1851 and then in 1854 at Marseille. He learnt to paint with Camp, a teacher at the school in Apt, and then at Marseille with Emile Loubon (1809-63), director of the local Ecole des Beaux-Arts, who urged him (according to Guigou's biographers) to paint directly from nature. Guigou settled in Marseille in 1854, where he participated regularly in the annual Salon of the Societe Artistique des Bouches-du-Rhene. Guigou painted almost exclusively Proven?al landscapes, which were influenced by the works of the Barbizon painters, who exhibited in Marseille, and by the brownish tones and picturesque figures of Loubon's paintings. The Road to Gineste (1859) and The Washerwoman (1860; both Paris, Mus. d'Orsay) reflect the independent tradition of Proveneal painting during the Second Empire, which was characterized by warm colouring and precise lighting used to separate and distinguish forms. His knowledge of the works of Gustave Courbet, acquired during a visit to Paris in 1859, doubtless increased his liking for broad technique and sincere vision, articulated in a strong and ordered construction of space: for example, The Gorges of the Luberon (c. 1861; Amiens, Mus. Picardie).
Conrad Wise Chapman
1842-1910 Conrad Wise Chapman Gallery