French Painter, 1836-1902 French painter, printmaker and enamellist. He grew up in a port, an experience reflected in his later paintings set on board ship. He moved to Paris c. 1856 and became a pupil of Louis Lamothe and Hippolyte Flandrin. He made his Salon d?but in 1859 and continued to exhibit there successfully until he went to London in 1871. His early paintings exemplify Romantic obsessions with the Middle Ages, while works such as the Meeting of Faust and Marguerite (exh. Salon 1861; Paris. Mus. d'Orsay) and Marguerite at the Ramparts (1861; untraced, see Wentworth, 1984, pl. 8) show the influence of the Belgian painter Baron Henri Leys. In the mid-1860s Tissot abandoned these tendencies in favour of contemporary subjects, sometimes with a humorous intent, as in Two Sisters (exh. Salon 1864; Paris, Louvre) and Beating the Retreat in the Tuileries Gardens (exh. Salon 1868; priv. col., see Wentworth, 1984, pl. 45). The painting Young Ladies Looking at Japanese Objects (exh. Salon 1869; priv. col., see Wentworth, 1984, pl. 59) testifies to his interest in things Oriental, and Picnic (exh. Salon 1869; priv. col., see 1984 exh. cat., fig. 27), in which he delved into the period of the Directoire, is perhaps influenced by the Goncourt brothers. Tissot re-created the atmosphere of the 1790s by dressing his characters in historical costume.  Related Paintings of James Tissot :. | A Fete Day at Brighton | The Farewell | Going to Business | The Dreamer(Summer Evening) | Seaside |
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BARTOLOMEO, Fra
b. 1473, Firenze, d. 1517 b. 1473, Firenze, d. 1517 He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Porta ("Gate") San Pier Gattolini. Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli. In the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a direct visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence. The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on July 26, 1500. The following year he entered the convent of San Marco. He renounced painting for several years, not resuming until 1504 when he became the head of the monastery workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Bianco's family chapel in the Badia Fiorentina, finished in 1507. Soon thereafter, Raphael visited Florence and befriended the friar. Bartolomeo learned perspective from the younger artist, while Raphael added skills in coloring and handling of drapery, which was noticeable in the works he produced after their meeting. With Raphael, he remained on the friendliest terms, and when he departed from Rome, left in his hands two unfinished pictures which Raphael completed. At the beginning of 1508 Bartolomeo moved to Venice to paint a Holy Father, St. Mary Magdalene and St. Catherine of Siena for the Dominicans of San Pietro Martire in Murano, influenced somewhat by Venetian colorism. As the Dominicans did not pay the work, he took it back to Lucca, where it can be seen now. Also in Lucca, in the October 1509, he painted by Albertinelli an altarpiece with Madonna and Child with Saints for the local cathedral. On November 26, 1510 Pier Soderini commissioned him an altarpiece for the Sala del Consiglio of Florence, now in the Museum of San Marco. Two years later he finished another altarpiece for the cathedral of Besancon.
R. Talbot Kelly
English, 1861 - 1934
Giacomo Bassano
Bassano 1517/18-1592