English Romantic Painter, 1775-1851, British land- and seascape artist. Born in London the son of a barber, Turner was precociously talented. He entered the RA Schools in 1789, had a drawing exhibited at the academy in 1790, and was elected a full academician in 1802. He became professor of perspective in 1807. A prolific artist of amazing range of subject and style, he began work in water-colours, quickly founding both a reputation and a fortune, which made him independent of changing public taste. His work was not appreciated by everyone, but his supporters included Thomas Lawrence, John Ruskin, and the earl of Egremont. He died in eccentric obscurity under a false name.   Related Paintings of J.M.W.Turner :. | The Fighting Temeraire,Tugged to her Last Berth to be broken up | the wreck buoy | view of eu, with the cathedral and chateau of louis philippe | snow storm | fall of the reichenbach in the valley of oberhasli switzertand |
Related Artists:
Alonzo Cano
Alonzo Cano or Alonso Cano (19 March 1601 - 3 September 1667) was a Spanish painter, architect and sculptor born in Granada. He learned architecture from his father, Miguel Cano;painting in the academy of Juan del Castillo, and from Francisco Pacheco the teacher of Velezquez; and sculpture from Juan Martenez Montañes. As a sculptor, his most famous works are the Madonna and Child in the church of Lebrija (also called Nebrija), and the colossal figures of San Pedro and San Pablo. He was made first royal architect, painter to Philip IV, and instructor to the prince, Balthasar Charles, Prince of Asturias. The King gave him the church preferment of a canonof the Granada Cathedral (1652), in order to take up a position as chief architect of the cathedral, where his main achievement in architecture was the façade, designed at the end of his life and erected to his design after his death.[citation needed] Ideal portrait of a Spanish King.He was notorious for his ungovernable temper; and it is said that once he risked his life by committing the then capital offence of dashing to pieces the statue of a saint, when in a rage with the purchaser who begrudged the price he demanded.[1] According to another story, he found his house robbed after coming home one evening, his wife murdered, and his Italian servant fled. Notwithstanding the presumption against the fugitive, the magistrates condemned Cano, because he was of a jealous temper. Upon this he fled to Valencia, but afterwards returned to Madrid, where he was put to the torture, which he endured without incriminating himself, and the king received him into favour. After the death of his wife he took Holy Orders as a protection from farther prosecution, but still continued his professional pursuits. He died in 1676. In his last moments, when the priest held to him a crucifix, he told him to take it away; according to the Catholic Encyclopedia, this was because the priest gave the Sacrament to conversos.
Edward Ashton Goodes
b.1832 d.1910
Guido Cagnacci
(January 19, 1601 - 1663) was an Italian painter of the late-Baroque period, belonging to the Forle painting school and to the Bolognese School. Born in Santarcangelo di Romagna near Rimini, he died in Vienna in 1663. He worked in Rimini from 1627 to 1642. After that, he was in Forle, where absorbed the lesson of the Melozzo's painting. Prior to that he had been in Rome, in contact with Guercino, Guido Reni and Simon Vouet. He may have had an apprenticeship with the elderly Ludovico Carracci. His initial output includes many devotional subjects. But moving to Venice under the name of Guico Baldo Canlassi da Bologna, he renewed a friendship with Nicolas Regnier, and dedicated himself to private salon paintings, often depicting sensuous naked women from thigh upwards, including Lucretia, Cleopatra, and Mary Magdalene.This allies him to a strand of courtly painting, epitomized in Florence by Francesco Furini, Simone Pignoni and others. In 1650, he moved to Venice. In 1658, he traveled to Vienna, where he remained under patronage of the emperor Leopold I. His life was at times tempestuous, as characterized by his failed elopement (1628) with an aristocratic widow. Some contemporaries remark him as eccentric, unreliable and of doubtful morality. He is said to have enjoyed the company of cross-dressing models.