Italian Baroque Era Painter, 1560-1609 Painter, draughtsman and printmaker, brother of Agostino Carracci. Since his lifetime, he has been considered one of the greatest Italian painters of his age. His masterpiece, the ceiling (1597-1601) of the Galleria Farnese, Rome, merges a vibrant naturalism with the formal language of classicism in a grand and monumental style.  Related Paintings of CARRACCI, Annibale :. | Homage to Diana ds | The Choice of Heracles sd | Rest on Flight into Egypt ff | Triumph of Bacchus and Ariadne (detail) dsg | Triptych |
Related Artists:
Frederick Smallfield
British Painter and Etcher , (1829-1911)
Georg Scholz
1890-1945 was a German realist painter. Scholz was born in Wolfenb??ttel and had his artistic training at the Karlsruhe Academy, where his teachers included Hans Thoma and Wilhelm Tr??bner. He later studied in Berlin under Lovis Corinth. After military service in World War I lasting from 1915 to 1918, he resumed painting, working in a style fusing cubist and futurist ideas. In 1919 Scholz became a member of the Communist Party of Germany, and his work of the next few years is harshly critical of the social and economic order in postwar Germany. His Industrial Farmers of 1920 is an oil painting with collage that depicts a Bible-clutching farmer with money erupting from his forehead, seated next to his monstrous wife who cradles a piglet. Their subhuman son, his head open at the top to show that it is empty, is torturing a frog. Perhaps Scholz' best-known work, it is typical of the paintings he produced in the early 1920s, combining a very controlled, crisp execution with corrosive sarcasm. Scholz quickly became one of the leaders of the New Objectivity, a group of artists who practiced a cynical form of realism. The most famous among this group are Max Beckmann, George Grosz and Otto Dix, and Scholz's work briefly vied with theirs for ferocity of attack. By 1925, however, his approach had softened into something closer to neoclassicism, as seen in the Self-Portrait in front of an Advertising Column of 1926 and the Seated Nude with Plaster Bust of 1927. Appointed a professor at the Baden State Academy of Art in Karlsruhe in 1925, the students he taught included Rudolf Dischinger. Scholz began contributing in 1926 to the satirical magazine Simplicissimus, and in 1928 he visited Paris where he especially appreciated the work of Bonnard. With the rise to power of Hitler and the National Socialists in 1933,
Domenico di Pace Beccafumi
(1486?CMay 18, 1551) was an Italian Renaissance-Mannerist painter active predominantly in Siena. He is considered one of the last undiluted representatives of the Sienese school of painting. Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist. In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school.