Italian Rococo Era Painter, 1697-1768 Italian painter, etcher and draughtsman. He was the most distinguished Italian view painter of the 18th century. Apart from ten years spent in England he lived in Venice, and his fame rests above all on his views (vedute) of that city; some of these are purely topographical, others include festivals or ceremonial events. He also painted imaginary views (capriccios), although the demarcation between the real and the invented is never quite clearcut: his imaginary views often include realistically depicted elements, though in unexpected surroundings, and in a sense even his Venetian vedute are imaginary. He never merely re-created reality. He was highly successful with the English, helped in this by the British connoisseur JOSEPH SMITH, whose own large collection of Canaletto works was sold to King George III in 1762. The British Royal Collection has the largest group of his paintings and drawings.  Related Paintings of Canaletto :. | The Arrival of the French Ambassador in Venice | Piazza San Marco- Looking North | Campo di Rialto (mk21) | Arrival of the French Ambassador in Venice d | The Piazzetta- Looking South |
Related Artists:
Pietro vannucci called IL perugino
Citta della Pieve ca 1448 -Fontignano 1523
Victor Mottez
Lille 1809-Bievres (Essonne)1897 .was a French fresco painter, painter and portraitist. His father was passionate about art and painted himself. Sent to Paris with a pension for some years, Victor was recalled due to the poor state of his father's finances and his studies were cut short. He followed courses at the École de dessin in Lille and worked under the direction of his father and his father's painter friends such as Édouard Lienard, student of Jacques-Louis David. He returned to Paris from 1828 to 1829 to enter the École des Beaux-Arts and at first studied under the direction of François-Édouard Picot, then as a free student of Dominique Ingres. The Mottez family was highly religious and devoted to the House of Bourbon, and so the July Revolution in 1830 came as a catastrophe to them. Victor was again recalled to Lille by his father and married shortly afterwards. From there he made many trips, of which the longest and most notable was that to Italy and he came to consider its old masters as the absolute masters of painting. In Rome he met Ingres again - Ingres liked him very much and often gave him advice. His Christ in the Tomb (now in the glise Sainte-Catherine de Lille) and The Martyrdom of Saint Stephen (now in the glise Saint-Étienne de Lille) date to this era. Also on this trip to Italy he became hugely interested in fresco art - Mottez painted his wife Julie in this medium and, showing Ingres the end result, pulled it off the wall at Ingres' request (it was later given to the Louvre by Mottez's two children). Returning to France in 1838, he set up shop in Paris and exhibited at the Paris Salons, especially turning more and more towards the neglected genre of frescoes, notably religious ones. He also translated the Treatise by the 14th century Florentine painter Cennino Cennini and learned from his techniques. His most remarkable works are those for churches (at Église Saint-Germain-l'Auxerrois in the 1840s, and at the Saint-Severin in the 1850s), which were admired by Ingres and Delacroix. However, the clergy's hostility to them, the materials used, the saltpeter walls and their situation all meant that they were already deteriorated by the end of the 19th century and are now largely lost (except for Saint Martin cutting his cloak in two at St-Germain l'Auxerrois), though Mottez's cartoons for them survive. During the same years he frequented the Bertins' salon, alongside the main writers and artists of the time (a sketch of his for a portrait of Victor Hugo survives). He produced two frescoes for this salon, destroyed in 1854. After the 1848 Revolution Mottez set out for the United Kingdom, where he produced several portraits of British nobles and personalities and the exiled minister François Guizot, which were exhibited at the Royal Academy salons.
Philippe Rousseau
Paris 1816 - Acquigny 1887. French Painter. French Painter. French painter. He may have received his artistic training in the studios of Gros and Jean-Victor Bertin, since he credited them as his masters when he exhibited at the Salon. He began exhibiting in 1834 with a View of Normandy (untraced) and for the next six Salons he exhibited landscapes. In 1844 he began to show still-lifes. In 1845 he was awarded a third-class medal, and in 1847 his still-lifes were admired by Th?ophile Thor?, who was one of the earliest critics to recognize Rousseau's debt to Chardin. This influence became the subject for his 1867 Salon entry, Chardin and his Models (untraced, see McCoubrey, no. 15). The work is far grander and more cluttered in its conception than most still-lifes by Chardin and alludes to the master by faithfully reproducing some of his favourite objects within a traditional table-top format rather than by an analysis of his compositional devices.