1581-1641 Italian Domenichino Locations Italian painter and draughtsman. On the basis of his frescoes and altarpieces he became established as the most influential exponent of the 17th-century classical style. Through his critical analysis of the art of Raphael and Annibale Carracci he was influential in the creation of a modern canon of the ancients; and he was perhaps the most complete example of a 17th-century artist struggling to reconcile tradition with the demand for spectacle.  Related Paintings of Domenichino :. | Adam and Eve sfw | The Maiden and the Unicorn (mk08) | Ermordung des Hl Petrus Martyr | Domenichino, The Way to Calvary | Landscape with Tobias Laying Hold of the Fish |
Related Artists:
Peter Paul Rubens
Flemish Baroque Era Painter, 1577-1640 Peter Paul Rubens (June 28, 1577 ?C May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp which produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England. Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems. His fondness of painting full-figured women gave rise to the terms 'Rubensian' or 'Rubenesque' for plus-sized women. The term 'Rubensiaans' is also commonly used in Dutch to denote such women.
Wladislaw Podkowinski
Polish Painter, 1866-1895
constant permeke
Constant Permeke (Dutch pronunciation: July 31, 1886 ?C January 4, 1952) was a Belgian painter and sculptor who is considered the leading figure of Flemish expressionism. Permeke was born in Antwerp but when he was six years old the family moved to Ostend, where his father became curator of the Municipal Museum of Arts. Permeke went to school in Bruges from 1903 until 1906, when he was drafted into the Belgian army. He served in a university company with whom he settled in Sint-Martens-Latem. After his military service ended in March 1908, Permeke returned to Ostend where he roomed together with another artist, Gustave De Smet but in 1909 he returned to Latem where he lived as a recluse. His work of this period is characterized by his heavy brush. In 1912 Permeke married Maria Delaere and the newlyweds settled in Ostend. His work from this period gains its expressive force through muted tonality and brutal forms. When World War I started, Permeke was mobilized and during the defense of Antwerp he was wounded in action near the town of Duffel. His wounds forced him to be evacuated to the United Kingdom where he was in hospital at South Hillwood. After his release from hospital he was reunited with his family in Folkestone, where his son John was born. In 1916 he moved to Chardstock in Devonshire and started painting again, mostly colorful English landscapes. After the end of the war, the Permeke family returned to Ostend in 1919. In contrast to the happy time in Devonshire, the harsh reality of the worker's life turns Permeke's work back to a gloomier mood as he mainly paints the harsh fisherman's life. In 1921 Permeke was able to exhibit his work in Antwerp and in Paris. Between 1922 and 1924, Permeke regularly went to Astene, in order to cooperate with Frits Van den Berghe. In 1926 Permeke went to Vevey in Switzerland where he mainly painted mountain scenes. In 1929 he moved to Jabbeke. During this period he changed his subject: instead of the fisherman and the sea he now focused on the farmer and his land. During this period, Permeke was enormously productive with works like "Gouden Oogst" (1935), "De Grote Marine" (1935), "Moederschap" (1936), "Het Afscheid" (1948), "Dagelijks Brood" (1950). Starting in 1937 Permeke tried his hand at sculpting as well. As a sculptor, Permeke tried to isolate the human figure in monumental efforts. "De Zaaier" (1939), "Niobe" (1946) and "De Drie Gratiën" (1949) are good examples of this period. During World War II, Permeke was forbidden to paint by the German occupiers as his art was seen by them as Entartete Kunst. Privately, things were even worse as his son Paul was arrested and sent to Germany as a forced labourer. After the war, Permeke was appointed director of the National higher Institute and of the Royal Academy in Antwerp but after only one year he offered his resignation. In 1947-1948, Permeke had a big retrospective exhibition in Paris but his happiness at the return of his son was soon shattered when in 1948 his wife died. Emotionally scarred and ailing, Permeke had to be nursed by his daughter.