Spanish 1746-1828 Francisco de Goya Locations was an Aragonese Spanish painter and printmaker. Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso. Goya married Bayeu's sister Josefa in July 25, 1773. His marriage to Josefa (he nicknamed her "Pepa"), and Francisco Bayeu's membership of the Royal Academy of Fine Art (from the year 1765) helped him to procure work with the Royal Tapestry Workshop. There, over the course of five years, he designed some 42 patterns, many of which were used to decorate (and insulate) the bare stone walls of El Escorial and the Palacio Real de El Pardo, the newly built residences of the Spanish monarchs. This brought his artistic talents to the attention of the Spanish monarchs who later would give him access to the royal court. He also painted a canvas for the altar of the Church of San Francisco El Grande, which led to his appointment as a member of the Royal Academy of Fine Art. In 1783, the Count of Floridablanca, a favorite of King Carlos III, commissioned him to paint his portrait. He also became friends with Crown Prince Don Luis, and lived in his house. His circle of patrons grew to include the Duke and Duchess of Osuna, whom he painted, the King and other notable people of the kingdom. After the death of Charles III in 1788 and revolution in France in 1789, during the reign of Charles IV, Goya reached his peak of popularity with royalty.  Related Paintings of Francisco de Goya :. | Portrait of the Countess of Chinchon | A Walk in Andalusia | Retrato de Francisco de Saavedra y Sangronis Secrario de Estado de Espana | Josa Antonio Caballero | The Countess of Carpio,Marquise de la Solana (mk05) |
Related Artists:
Germain Hilaire Edgard Degas
1834-1917 impressionism,French
CELESTI, Andrea
Italian painter, Venetian school b. 1637, Venezia, d. 1712, Venezia,Italian painter. He trained first with Matteo Ponzoni, then with Sebastiano Mazzoni; Mazzoni encouraged the development of a Baroque style, but Celesti was also attracted by the naturalism of the tenebrists. The first known works by Celesti are mature in style, and he had already achieved considerable fame in Venice when the Doge Alvise Contarini honoured him with the title of Cavaliere in 1681. The complexity of his sources is evident in two canvases, Moses Destroying the Golden Calf and Moses Chastising the Hebrew People for their Idolatry, both painted c. 1681 for the Palazzo Ducale, Venice, and signed Cavaliere; they are influenced by Luca Giordano and by the narrative techniques of Jacopo Tintoretto. The most distinguished works of Celesti's early period are two large lunettes that show three scenes: Benedict III Visiting St Zacharias, A Doge Presented with the Body of a Saint, and the Virtues Surrounding a Doge Holding the Model of St Zacharias (c. 1684; Venice, S Zaccaria). These luxuriant compositions represent a remarkable leap in quality from the paintings of the Palazzo Ducale, with lighter colours and a more flickering touch. A little later Celesti left Venice for Brescia, perhaps by way of Rovigo; exactly when he arrived is not known, but he established himself and his studio there for several years. Panfilo Nuvolone and Francesco Paglia (1636-1713) had encouraged the development of a more exuberant Baroque style in Brescia, and in response Celesti created more decorative, lyrical works, such as his ecstatic St Rose of Lima (Brescia, S Clemente) with its brilliant display of glorious light. Most of Celesti's paintings done in and around Brescia were religious canvases, but he also painted portraits, such as the two entitled Condottiero (Ljubljana, Slov. Acad. Sci. & A.) and the portrait of Conte Alberto di Baone (Dublin, N.G.), executed in a dazzling array of colours. In 1688 Celesti was active at Toscolano on Lake Garda, where he painted canvases of scenes from the Life of St Peter (Toscolano Cathedral) and in 1689 decorated the salone of the Palazzo Delay (now Palazzo Mafizzoli) with Old Testament scenes. In 1696 he was at Treviso, where he executed a Last Judgement for the cathedral (untraced) and in 1697, 1698 and 1699 pictures for the abbey of S Floriano at Linz, where his Paradise, for the high altar, remains in situ. By 1700 Celesti was back in Venice, where he set up his studio; Venetian artists of this period, led by Giovanni Coli and Filippo Gherardi, were reviving the style of Veronese, and Celesti, following this trend, produced late works that employed more dazzling effects of colour and light. These works include the frescoed decoration of the Villa Rinaldi Barbini at Casella d'Asolo, where Celesti created a series of exotic and theatrical mythological and biblical scenes, distinguished by their luminosity and by their light and airy touch. His last works were three dramatic night scenes: the Birth of the Virgin, the Assumption of the Virgin and the Martyrdom of St Lawrence (1706-11; Verolanuova Cathedral). Celesti was much admired by Charles-Nicholas Cochin (i) and by Jean-Honor? Fragonard, and his colour influenced the Rococo art of the early 18th century in Venice and in Austria.
George Stubbs
1724-1806 George Stubbs Galleries George Stubbs (born in Liverpool on August 25, 1724 ?C died in London July 10, 1806) was a British painter, best known for his paintings of horses. Stubbs was the son of a currier. Information on his life up to age thirty-five is sparse, relying almost entirely on notes made by fellow artist Ozias Humphry towards the end of Stubbs's life. Stubbs was briefly apprenticed to a Lancashire painter and engraver named Hamlet Winstanley, but soon left as he objected to the work of copying to which he was set. Thereafter as an artist he was self-taught. In the 1740s he worked as a portrait painter in the North of England and from about 1745 to 1751 he studied human anatomy at York County Hospital. He had had a passion for anatomy from his childhood, and one of his earliest surviving works is a set of illustrations for a textbook on midwifery which was published in 1751. In 1755 Stubbs visited Italy. Forty years later he told Ozias Humphry that his motive for going to Italy was, "to convince himself that nature was and is always superior to art whether Greek or Roman, and having renewed this conviction he immediately resolved upon returning home". Later in the 1754 he rented a farmhouse in the village of Horkstow,Lincolnshire, and spent 18 months dissecting horses. He moved to London in about 1759 and in 1766 published The anatomy of the Horse. The original drawings are now in the collection of the Royal Academy. Even before his book was published, Stubbs's drawings were seen by leading aristocratic patrons, who recognised that his work was more accurate than that of earlier horse painters such as James Seymour and John Wootton. In 1759 the 3rd Duke of Richmond commissioned three large pictures from him, and his career was soon secure. By 1763 he had produced works for several more dukes and other lords and was able to buy a house in Marylebone, a fashionable part of London, where he lived for the rest of his life. Whistlejacket. National Gallery, London.His most famous work is probably Whistlejacket, a painting of a prancing horse commissioned by the 2nd Marquess of Rockingham, which is now in the National Gallery in London. This and two other paintings carried out for Rockingham break with convention in having plain backgrounds. Throughout the 1760s he produced a wide range of individual and group portraits of horses, sometimes accompanied by hounds. He often painted horses with their grooms, whom he always painted as individuals. Meanwhile he also continued to accept commissions for portraits of people, including some group portraits. From 1761 to 1776 he exhibited at the Society of Artists, but in 1775 he switched his allegiance to the recently founded but already more prestigious Royal Academy. Stubbs also painted more exotic animals including lions, tigers, giraffes, monkeys, and rhinoceroses, which he was able to observe in private menageries. He became preoccupied with the theme of a wild horse threatened by a lion and produced several variations on this theme. These and other works became well known at the time through engravings of Stubbs's work, which appeared in increasing numbers in the 1770s and 1780s. Mares and Foals in a Landscape. 1763-68.Stubbs also painted historical pictures, but these are much less well regarded. From the late 1760s he produced some work on enamel. In the 1770s Josiah Wedgwood developed a new and larger type of enamel panel at Stubbs's request. Also in the 1770s he painted single portraits of dogs for the first time, while also receiving an increasing number of commissions to paint hunts with their packs of hounds. He remained active into his old age. In the 1780s he produced a pastoral series called Haymakers and Reapers, and in the early 1790s he enjoyed the patronage of the Prince of Wales, whom he painted on horseback in 1791. His last project, begun in 1795, was A comparative anatomical exposition of the structure of the human body with that of a tiger and a common fowl, engravings from which appeared between 1804 and 1806. Stubbs's son George Townly Stubbs was an engraver and printmaker.