1696-1770 Italian painter, master of Venetian school. Tiepolo was famous in his own lifetime as a superb painter in fresco and a brilliant draftsman. A highly inventive artist, he could create spectacular effects in difficult sites, from the narrow gallery at the patriarchal palace at Udine in the mid-1720s to the vast staircase ceiling in the Residenz at Werzburg in the early 1750s. Contemporaries recognized his spirited, dynamic approach to subject matter and his frankly sensuous manner of painting. Tiepolo is comparable in his restless energy and imaginative power to Peter Paul Rubens, and essentially he worked with a similar baroque language of myth, allegory, and history, which he infused with a sense of freshness and modernity. His approach to religious art is characterized by candor and naturalism, while he was responsive to the different concerns of patrons and viewers at a time when the church was faced with new kinds of devotion and criticism. With the advent of neoclassicism, Tiepolo's art fell from favor: In an age that prized archaeological correctness, rationality, and ideals of improvement, his witty, Veronese-inspired conception of historical or classical subjects seemed frivolous, while his visually seductive qualities were seen as inimical to the serious intellectual aims of the new art. Nevertheless, his drawings and oil sketches continued to appeal to collectors, including Antonio Canova. The son of a Venetian shipping merchant, Tiepolo was apprenticed in 1710 to Gregorio Lazzarini (1655C1730), an artist of international reputation patronized by prominent Venetian families. Before becoming an independent master, he worked in the household of Doge Giovanni Corner; members of the Corner family were to be his most steadfast and liberal patrons. Lazzarini encouraged his pupils to study Venetian sixteenth-century art, and Tiepolo made drawings of some famous works for publication in Domenico Lovisa's Gran Teatro di Venezia of 1717. His early involvement with the thriving Venetian engraving and publishing world was renewed in 1724 when he made drawings of antique sculpture as illustrations for Scipione Maffei's Verona Illustrata, an experience that gave Tiepolo an imaginative empathy with fragmentary antique remains, which recur in his drawings, etchings, and paintings. As well as studying the art of the past, Tiepolo looked to the tenebrism of Federico Bencovich (1677C1753) and the realism and monumentality of Giovanni Battista Piazzetta (1682C1754). In 1719 Tiepolo married Cecilia Guardi, with whom he was to have nine children. By then, the artist was working for a network of mercantile and noble patrons on religious and secular subjects.  Related Paintings of Giambattista Tiepolo :. | Details of The Death of Hyacinthus | Detail of the martyrdom of Saint John of Bergamo | Details from The Triumph of Marius | The Triumph of Marius | Abraham and the Angels |
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Edward Middleton Manigault
(June 14, 1887 - August 31, 1922) was an American Modernist painter. Manigault was born in London, Ontario on June 14, 1887. His parents were Americans originally from South Carolina.Encouraged in art from an early age, he was commissioned at the age of 18 the city of London to make renderings of public buildings for reproduction as postcards.
Alfred Ordway
(1821 - 1897) was an American landscape and portrait painter, and one of the founding fathers of the Boston Art Club. Alfred was born in Roxbury, Massachusetts to mother Currier, and father Thomas Ordway on March 9, 1821. With his father being the cities' clerk, Alfred spent the majority of his childhood in Lowell, Massachusetts. His family can be traced back to the early 17th century when James Ordway settled in Dover, New Hampshire. Both his parents fought in the Revolutionary War, and his grandfather, Nehemiah Ordway, a physician in Amesbury, Massachusetts, was put in charge "to form and equip a company for Bunker Hill".
Sir Henry Raeburn
1756-1823 Scottish Sir Henry Raeburn Galleries He was born the son of a manufacturer in Stockbridge, a former village now within the city of Edinburgh. Orphaned, he was supported by his older brother and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to a goldsmith, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. The goldsmith watched the progress of his pupil with interest, and introduced him to David Martin, who bad been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. In his early twenties, he was asked to paint the portrait of a young lady whom he had previously observed and admired when he was sketching from nature in the fields. She was the daughter of Peter Edgar of Bridgelands, and widow of Count Leslie. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, who advised him on what to study in Rome, especially recommending the works of Michelangelo. Raeburn carried with him to Italy many valuable introductions from the president of the Royal Academy. In Rome he met Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Raeburn's portrait of Sir Walter Scott (1822)Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton, works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, the bust of Dr Wardrop of Torbane Hill, the two full-lengths of Adam Rolland]] of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the earlier years of the 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh, in 1814 associate, and in the following year full member of the Royal Scottish Academy. In 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland. He died at Edinburgh. The Reverend Robert Walker Skating on Duddingston Loch, better known as The Skating Minister (1790s)Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Vel??zquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Raeburn was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting everything directly from life. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the nineteenth century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House, Stockbridge, Edinburgh.