impression artist Russian, 1844?C1930  Related Paintings of Ilia Efimovich Repin :. | Rest | Looks up the Polo assorted person to make the custom | Golla Zhu Knoff portrait | NA ER Thiemann portrait | Autumn flowers |
Related Artists:
CAMPI, Giulio
Italian Painter, ca.1502-1572 The eldest of a family prominent painters, Campi was born at Cremona. His father Galeazzo (1475-1536) taught him the first lessons in art. In 1522, in Mantua, he studied painting, architecture, and modelling under Giulio Romano. He visited Rome, became an ardent student of the antique, and like Bernardino ?? distantly related to him ?? he combined a Lombard and Roman traditions. He collaborated on some works with Camillo Boccaccino, the son of Boccaccio Boccaccino, with whom Campi may also have received training. Campi is called the "Ludovico Carracci of Cremona" although he preceded the founder of the Eclectics. When but twenty-seven Giulio executed for the church of Sant' Abbondio his masterpiece, a Virgin and Child with Sts. Celsus and Nazarus, a decoration masterly in the freedom of its drawing and in the splendour of its colour. His numerous paintings are grandly and reverently conceived, freely drawn, vigorously coloured, lofty in style, and broadly handled. He was animated in all his work by a deep piety. Numerous of his fresco works are housed in churches of Cremona, Mantua, Milan and in the church of Saint Margaret's, in his native town. Among his chief works are the Descent from the Cross (S. Sigismondo) at Cremona, and the frescoes in the dome of S. Girolamo at Mantua. An altar-piece in S. Sigismondo and his Labours of Hercules were engraved by the celebrated Ghiso, il Mantovano. He died in Cremona in 1572.
GUARDI, Francesco
Italian Rococo Era Painter, 1712-ca.1793 The records of his parish in Venice show that Francesco Guardi was baptized on Oct. 5, 1712. His father, Domenico, who died when Francesco was 4, had a workshop. Francesco and his elder brother, Gian Antonio, worked in a small studio, carrying out such orders as they could get for almost anything the client wanted:mythological pictures, genre, flower pieces, battle scenes, altarpieces, and even, on rare occasions, frescoes. They did not hesitate to copy compositions by other artists, but what they borrowed they always transformed into something more capricious, less stable, more fragmentary in the refraction of light. Francesco did not emerge as an independent personality until 1760, when his brother died. Then, 48 years old, he married, established his own studio, and devoted himself chiefly to painting views of Venice. For the most part he worked in obscurity, ignored by his contemporaries. He was not even admitted to the Venetian Academy until he was 72 years old. Guardi and Canaletto have always been compared to one another because the buildings they chose to paint were often the same. But the way each artist painted them is very different. Canaletto's world is constructed out of line. It provides solid, carefully drawn, three-dimensional objects that exist within logically constructed three-dimensional space. Guardi's world is constructed out of color and light. The objects in it become weightless in the light's shimmer and dissolve in a welter of brushstrokes; the space, like the forms in space, is suggested rather than described. Canaletto belonged essentially to the Renaissance tradition that began with Giotto and, as it grew progressively tighter and more controlled, pointed the way to neoclassicism. Guardi belonged to the new baroque tradition that grew out of the late style of Titian and, as it became progressively looser and freer, pointed the way toward impressionism. Such differences appear even in Guardi's early view paintings, where he was obviously trying to copy Canaletto, such as the Basin of San Marco. The famous buildings are there, but they are far in the background, insubstantial, seeming to float. In front is a fleet of fishing boats, their curving spars seeming to dance across the surface of the canvas. What is important for Guardi is not perspective but the changing clouds and the way the light falls on the lagoon. Guardi became increasingly fascinated by the water that surrounds Venice. In late works, such as the famous Lagoon with Gondola, buildings and people have been stripped away until there is nothing but the suggestion of a thin line of distant wharfs, a few strokes to indicate one man on a gondola, a long unbroken stretch of still water, and a cloudless sky. Guardi also painted the festivals that so delighted visitors to the city, such as the Marriage of Venice to the Sea. This was a symbolic ceremony in which the doge, in the great gilded galley of the head of state, surrounded by a thousand gondolas, appeared before all Venice, in Goethe's image, "raised up like the Host in a monstrance." Of all Guardi's paintings the most evocative are his caprices, the landscapes born out of his imagination though suggested by the ruined buildings on the lonely islands of the Venetian lagoon. A gentle melancholy clings to such scenes.
Maella, Mariano Salvador
Spanish Painter, 1739-1819 Spanish painter and draughtsman. He was the son of a Valencian painter of the same name, and in 1751 he went to Madrid, where he studied drawing and modelling under the sculptor Felipe de Castro for two years. However, he felt painting to be his vocation and joined the students directed by Antonio Gonzelez Velezquez at the Real Academia de S Fernando, where he completed his studies in 1757.