1791-1882 Italian Francesco Hayez Galleries Hayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francisco Magiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there. Assessment of the career of Hayez is complicated by the fact that he often did not sign or date his works. Often the date indicated from the evidence is that at which the work was acquired or sold, not of its creation. Moreover he often painted the same compositions several times with minimal variations, or even with no variation. His early works show the influence of Ingres and the Nazarene movement. His later work participates in the Classical revival.  Related Paintings of Francesco Hayez :. | Portrat der Antonietta Negroni Prati Morosini als Kind | Zusammentreffen von Jakob und Esau, Detail | Portrat des Massimo d' Azeglio. | Portrait of Antonietta Vitali Sola | Portrat der Prinzessin di Sant' Antimo |
Related Artists:
Job Berckheyde
Dutch Baroque Era Painter, 1630-1693
Theodore Roussel
English Painter, 1847-1926 English painter and etcher of French birth. He was born and educated in France and settled in England in 1878, when he quickly established a reputation. Largely self-taught, his few extant early paintings show an eclectic style that combines the techniques of the Old Masters, which he studied in detail, with the subject-matter of modern urban life. In 1885 he was introduced to James McNeill Whistler, his neighbour in Chelsea, London, and in consequence a lifelong friendship was formed. As Roussel was a member of Whistler's London circle his work in watercolour and oil was influenced by the latter in style and choice of subject-matter. His oft-quoted remark that he was a 'pupil of Whistler' is, however, belied by his frequently distinct style, as seen in such paintings as the Reading Girl (1886-7; London, Tate). In 1888 Whistler introduced him to the techniques of etching and drypoint, resulting in such etchings as the Sign of the 'White Horse', Parson's Green (c. 1893-4; see Rutter, pl. xxx). For the remainder of his life he relentlessly pursued the medium, even, like Whistler, designing his own special frames. Always fascinated by the theoretical and practical nature of colour science, he constantly experimented and was an early pioneer of the technique of colour etching in England, producing such works as Dawn.
theophile-alexandre steinlen
Swiss-born French Art Nouveau Painter and Printmaker, 1859-1923 was a Swiss-born French Art Nouveau painter and printmaker. Born in Lausanne, Steinlen studied at the University of Lausanne before taking a job as a designer trainee at a textile mill in Mulhouse in eastern France. In his early twenties he was still developing his skills as a painter when he and his new wife were encouraged by the painter Francois Bocion to move to the artistic community in the Montmartre Quarter of Paris. Once there, Steinlen was befriended by the painter Adolphe Willette who introduced him the artistic crowd at Le Chat Noir that led to his commissions to do poster art for the cabaret owner/entertainer, Aristide Bruant and other commercial enterprises. La tournee du Chat Noir avec Rodolphe Salis (1896)In the early 1890s, Steinlen's paintings of rural landscapes, flowers, and nudes were being shown at the Salon des Independants. His 1895 lithograph titled Les Chanteurs des Rues was the frontispiece to a work entitled Chansons de Montmartre published by Editions Flammarion with sixteen original lithographs that illustrated the Belle Epoque songs of Paul Delmet. His permanent home, Montmartre and its environs was a favorite subject throughout Steinlen's life and he often painted scenes of some of the harsher aspects of life in the area. In addition to paintings and drawings, he also did sculpture on a limited basis, most notably figures of cats that he had great affection for as seen in many of his paintings. Steinlen became a regular contributor to Le Rire and Gil Blas magazines plus numerous other publications including L'Assiette au Beurre and Les Humouristes, a short-lived magazine he and a dozen other artists jointly founded in 1911.