Italian High Renaissance Painter, ca.1471-1546   Related Paintings of FERRARI, Gaudenzio :. | Crucifixion fgjw | St Anne Consoled by a Woman dfg | Heracles and Antaeus | Hercules and Antaeus fdh | Summer fghd |
Related Artists:
Jacob Ferdinand Voet
(c. 1639 - c. 1689/1700) was a Flemish Baroque portrait painter. According to the Netherlands Institute for Art History (RKD) he was born at Antwerp as the son of the painter Elias Voet.[1] He travelled to Rome in 1679-1680, Milan in 1680, Florence in 1681, Turin in 1682-1684, and returned to Antwerp in 1684. While in Rome he lived with the painter-engraver Cornelis Bloemaert until he was banned for his portraits of women portrayed with unseemly decollet, whereupon they left Rome together. He undertook a journey to Paris in 1686 where he became court painter until he died there.He is registered as a painter of miniature portraits. According to Houbraken, he made his return journey to Antwerp from Turin in the company of Jan van Bunnik, who he had already met in Rome in the company of Cornelis Bloemaert. From Turin they set out for Lyons, where they met Adriaen van der Cabel, Peter van Bloemen, and Gillis Wenix. They set off for Paris in the company of a third painter who was a good painter of "bataljes" or battle scenes. Houbraken reports that this was Jacob, Jan van Bunnik's brother, but had not mentioned him earlier in his Jan van Bunnik biography. The RKD makes no mention of a Jacob van Bunnik.
Jan Preisler
Czechoslovakian, 1872-1918 Bohemian painter. He studied at the School of Applied Arts in Prague (1887-95). In 1906 he visited Belgium, the Netherlands and Paris. He taught at the Academy of Arts in Prague from 1913. He was a pioneer in modern Bohemian art, and his work developed from pure Art Nouveau and Symbolism towards Expressionism, in three phases. The period 1887-1900 is represented by the triptych Spring (1900; Prague, Trade Fair Pal.): with its lack of scales of tonal value or Impressionist instantaneousness, it is a skilful use of colour and composition. The figure of the boy with autobiographical features is symbolic of a whole generation. The period 1901-7 culminated in Painting from a Bigger Cycle (1901-2; Prague, Trade Fair Pal.), which balances vertical and horizontal lines and employs bright colour combinations. In Black Lake (1904; Prague, Trade Fair Pal.), which deals with the misery and excitement of first love, the contrast of black and white and the figure of the boy with a horse and a girl evoke the transitive moment between reality and dream. Spring (1906; Prague, Trade Fair Pal.), a testament to Preisler admiration for the work of Gauguin, develops the resonant contrast of green, yellow and white. In 1908-18 Preisler returned to monumental decoration: of the Palacky Room in the Municipal House in Prague, 1910-12, in the style of Puvis de Chavannes. At this time he was approaching the Expressionism of the younger generation from the Eight (ii), especially in the three versions of the painting Good Samaritan (1910-13; all priv. col., see Kotalok, pl. 41), which shows the influence of Daumier and Munch.
Vasily Polenov
1844 - 1927,Painter. He began a systematic study of drawing in 1856, first with the landscape painter Pavel Cherkasov (1834-1900), then from 1859 to 1861 with Pavel Chistyakov (1832-1919). He also took lessons with Chistyakov, whom he considered his most important teacher, in 1871 and early 1872, after finishing his academic course. From 1863 to 1871 Polenov studied at the St Petersburg Academy of Art, where he met members of the progressive wing of the Russian artistic intelligentsia, and occasionally in the faculty of law at St Petersburg University. The classical education he received at home, his academic training and lessons with Chistyakov led Polenov towards an exalted history painting, although he personally inclined towards landscape. This dualism remained in Polenov work for the duration, and not until the late 1880s and early 1890s did he achieve a stable relationship between the two forms. The whole of his student career and the initial postgraduate, scholarship period was largely taken up with historical works: from academic compositions, for example the Resurrection of Jairus Daughter (1871; Pskov, Mus. Hist., Archit. & A.), for which he received the Grand Gold Medal and a travel bursary (in Germany and Italy, 1872-3, and France, 1873-6), to numerous pictures and sketches on subjects from antiquity and medieval history, executed in France or shortly after his departure from there, under the perceptible influence of Paul Delaroche (e.g. The Master Right, 1874; Moscow Tret yakov Gal.). At the same time he produced his first independent works, in the 1860s and early 1870s: landscapes in the surroundings of the Imochentsy estate in Karelia (e.g. Mountains, 1870; Moscow Tret yakov Gal.), and landscape studies and pictures executed from nature in Normandy in 1874 (e.g. Fishing Boat, Etretat; Moscow, Tret'yakov Gal.). In 1876 he became an Academician