Italian High Renaissance Painter, ca.1450-1525  Related Paintings of CARPACCIO, Vittore :. | Agony in the Garden dfg | Arrival of the English Ambassadors g | Vision of St Augustin fg | The Ambassadors Depart fg | Portrait of an Unknown Man with Red Beret dfg |
Related Artists:
Abbott Fuller Graves
1859-1936
Caroline Watson
British 1760-1814,Daughter of James Watson. In 1780 she signed a stipple print of Isaac Watts and was soon employed by John Boydell (e.g. Prince William of Gloucester, 1784, after Joshua Reynolds). In 1785 she became Engraver to Queen Charlotte (1744-1818), a keen print collector. She was particularly fitted to working after miniatures, such was the delicacy of her engraving, and some of her best prints are portraits and small subjects after Samuel Shelley (c. 1750-1808). She did private commissions of this kind, notably for the Bute family, and also engraved large plates, some for the Boydell Shakespeare Gallery, including the Death of Cardinal Beaufort (1792) after Reynolds, allegedly at his request. She was employed by William Hayley (1745-1820) on his Life of George Romney Esq (London, 1809), and the correspondence involved shows her as a reliable and respected professional.
Edward Burne Jones
Sir Edward Coley Burne-Jones, 1st Baronet (28 August 1833 - 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner, and Company. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in England; his stained glass works include the windows of St. Philip's Cathedral, Birmingham, Holy Trinity Church, Sloane Square, Chelsea, St Martin's Church in Brampton, St Michael's Church in Brighton, Cumbria, the church designed by Philip Webb, All Saints, Jesus Lane, Cambridge and in Christ Church, Oxford. Burne-Jones's early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic "voice". In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement. In addition to painting and stained glass, Burne-Jones worked in a variety of crafts; including designing ceramic tiles, jewellery, tapestries, mosaics and book illustration, most famously designing woodcuts for the Kelmscott Press's Chaucer in 1896. Edward Coley Burne Jones (the hyphen came later) was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painter's childhood. His mother Elizabeth Coley Jones died within six days of his birth, and he was raised by his grieving father and the family housekeeper, Ann Sampson, an obsessively affectionate but humorless and unintellectual local girl. He attended Birmingham's King Edward VI grammar school from 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford. At Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a small group of Jones' friends from Birmingham known as the Birmingham Set, speedily formed a very close and intimate society, which they called "The Brotherhood". The members of the Brotherhood read John Ruskin and Tennyson, visited churches, and worshipped the Middle Ages. At this time Burne-Jones discovered Thomas Malory's Le Morte d'Arthur which was to be so influential in his life. At that time neither Burne-Jones nor Morris knew Rossetti personally, but both were much influenced by his works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Morris founded in 1856 to promote their ideas.[