French Painter, 1743-1824  Related Paintings of Anicet-Charles-Gabriel Lemonnier :. | The Poachers | Nud vazut din spate, semnat stanga sus cu negru, ulei pe carton lipit pe carton | Los Borrachos (mk08) | The Imperial Chancellor,Prince of Hohenlohe-Schillingsfurst | Glacier Streams-The Simplon (mk18) |
Related Artists:
Etienne Moreau-Nelaton
Adolphe Etienne Auguste Moreau-Nelaton (2 December 1859, Paris- 25 April 1927, Paris) was a French painter, art collector and art historian. His large collection is today held in its entirety by National French museums. Moreau-Nelaton's family's art collecting began with his grandfather Adolphe Moreau (1800-59). As a stockbroker he possessed ample capital with which to buy the work of artists with whom he was personally acquainted, including Eugene Delacroix and Alexandre-Gabriel Decamps. Moreau-Nelaton's father, who was also named Adolphe Moureau (1827-82), was a high government official and led the railroad company Chemins de fer de l'Est. In 1856 he married the ceramic artist Camille Nelaton (1840-97), with whom he further expanded the family's collection.
MAGNASCO, Alessandro
Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,
Shalva Kikodze
Shalva Kikodze (Georgian: შალვა ქიქოძე) (1894 - 1921) was a Georgian expressionist painter, graphic artist and theatre decorator. Together with Lado Gudiashvili and David Kakabadze, he is considered a key figure in Georgian art of the early 20th century. He was born in a remote Georgian village Bakhvi, Guria, then part of the Russian Empire. From 1914 to 1918, he studied at Moscow School of Painting, Sculpture and Architecture. In 1916, he took part in an expedition to the Georgian village Nabakhtevi and made copies of the 15th-century murals from the local church. He stayed in his motherland for a short period of 1918-1920, and worked chiefly as a theater decorator for Jabadari Theater in Tbilisi. Afterwards he moved to Paris, where he, together with his fellow painters, Gudiashvili and Kakabadze, held an exhibition in 1921. He died in Freiburg, Germany, on November 7, 1921