Italian Gothic Era Painter, active 1215-1242 Italian painter. Originally from Lucca, he was the most gifted of a family of Lombardian painters. His Scenes from the Life of St. Francis on the predella of the altar of San Francesco (Pescia) is the earliest known visual representation of St. Francis' life. Also noted are Scenes from the Life of St. Francis (Santa Croce, Florence) and St. Francis Receiving the Stigmata (Accademia, Florence).   Related Paintings of BERLINGHIERI, Bonaventura :. | St Francis and Scenes from his Life (mk08) | St Francis and Scenes From his Life | Madonna and Child with Saints and Crucifixion | St. Franciscus | St Francis gh |
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fritz von dardel
Fritz Ludvig von Dardel, född den 24 mars 1817 i Neuchâtel, död den 27 maj 1901 i Stockholm, var en schweiziskfödd svensk överintendent, militär, målare och tecknare. Fritz von Dardel var son till godsägaren Georges-Alexandre von Dardel och grevinnan Hedvig Sofia Charlotta Amalia Lewenhaupt. Han var gift med friherrinnan Augusta Silfverschiöld. Släkten von Dardel kommer från Schweiz och adlades i Sverige 1810. Von Dardel blev vid sexton års ålder konstapelkadett vid Vendes artilleriregemente, 1837 underlöjtnant vid Svea livgarde och avancerade till överstelöjtnant i armen 1862. Han blev 1850 adjutant hos kronprinsen och sedan hos Karl XV. Von Dardel var 1858-62 militärattach?? i Paris samt blev 1864 kabinettskammarherre hos Karl XV och samma år överintendent och ordföranden i Akademin för de fria konsterna, av vilken han 1861 invalts till hedersledamot. Dessutom var han ordförande i Nationalmuseums nämnd i 25 år (1867-92). Vid flera konstutställningar i Europa (1867, 1871, 1873 och 1878) samt i Philadelphia (1876) var han juryman. Själv hade von Dardel bedrivit studier på L??on Cogniets och E. Lamis ateljeer i Paris. Fritz von Dardel tillhörde Karl XV:s intima krets och har gjort ett flertal dråpliga, akvarellerade teckningar av personer och händelser vid hovet eller under kungens resor, vidare folklivsbilder samt litografier. Hans dagböcker (se nedan) som utgavs postumt är skrivna på franska och översatta och redigerade av hans söner.
Jens Juel
1745-1802 Danish Jens Juel Galleries was a Danish painter, primarily known for his many portraits, of which the largest collection is on display at Frederiksborg Castle. He was born in the house of his mothers brother Johan Jørgensen, who was a school teacher in Balslev on the island of Fyn. Jens Juel was the illegitimate son of Vilhelmine Elisabeth Juel (January 1725 ?C March 1799), who served at Wedellsborg and a fine gentleman, probably a Wedell or Lord Jens Juel. When Juel was one year old, his mother married Jørgen Jørgensen (1724 ?C June 4, 1796), who was a school master in Gamborg, not far from Balslev, and he grew up in Gamborg. He showed an interest in painting from an early age, and his parents sent him to be an apprentice of painter Johann Michael Gehrman in Hamburg, where he worked hard for five or six years and improved himself so far, that he created himself a reputation as a painter of portraits, landscapes, etc. Just over twenty years old he came to Copenhagen to attend the Royal Danish Academy of Art. In 1767 he was awarded its small gold medal and in 1771 the large gold medal. In 1772 he left Copenhagen to be away for eight years. Initially, he went to Rome where he stayed for four years together with other Danish artists, including Abildgaard. From Rome, he moved to Paris, at the time a center of portrait painting. In 1777 he moved on to Geneva, where he stayed for two years at the home of his friend Charles Bonnet in the company of other Danish artists, including etcher Clemens. In Geneva, Juel soon earned himself a reputation as an excellent artist and he painted many portraits. Through Bonnet, who had become a member of honour of the Danish academy, his reputation reached Denmark. After eight years of absence, he returned to Copenhagen in 1780 after a brief stay in Hamburg, where he met Klopstock. It was at his house, that he painted his well-known picture of "Messiadens Digter". Back in Copenhagen, he created himself a reputation as a painter of portraits for the royal house, nobility and the well-to-do. April 4, 1782, he was unanimously elected to be a member of the academy by Mandelberg, Weidenhaupt and Abildgaard. He became the director of the academy in 1795.
Antonio Viladomat y Manalt
Spanish, 1678-1755,Spanish Catalan painter. He was the most significant figure in Catalan painting from the end of the 17th century to the first half of the 18th. He trained with P. B. Savall and J. B. Perram?n in Barcelona. The arrival of the Archduke Charles (later Charles VI) of Austria in Barcelona in 1703 as a pretender to the throne during the War of the Spanish Succession (1702-13), accompanied by such Italian artists as Ferdinando Galli-Bibiena, acquainted Viladomat y Manalt with artistic trends in Italy. He experienced problems with the artists' guild in Barcelona because of his refusal to participate in the traditional work system. Despite this, his workshop-academy became a centre for the training of numerous painters, sculptors and engravers. Viladomat y Manalt was principally a religious painter, and his oil paintings include Christ Appearing to St Ignatius of Loyola (c. 1711-20; Barcelona, Jesuit Convent) and St Augustine and the Holy Family (Madrid, Prado). He also painted such murals as the tempera Angels with the Sudarium (c. 1727; Matare, S Mar?a, Capilla de los Dolores), but most of the others have disappeared. He painted an extensive series of monastic and evangelical works, in which his revival of compositions characteristic of the Spanish Golden Age is apparent. Examples include the Stigmatization of St Francis (c. 1724; Barcelona, Mus. A. Catalunya), part of a cycle of paintings on the life of St Francis commissioned for the cloister of the convent of S Francisco de As?s in Barcelona. His late Baroque style is related to the severe and realistic trend in Spanish painting in the early 17th century. Some interesting profane allegories by the artist are extant, notably the series Four Seasons (c. 1720-30; Barcelona, Mus. A. Catalunya), which consists of landscapes with genre scenes. Several of the still-lifes by Viladomat y Manalt such as the realistic Still-life with Dead Turkey (Barcelona, Mus. A. Catalunya), which has strong contrasts of light, bear an affinity with Neapolitan painting of the last decades of the 17th century.