1732-1806 French Jean Honore Fragonard Locations French painter. He studied with François Boucher in Paris c. 1749. He subsequently won a Prix de Rome, and while in Italy (1756 ?C 61) he traveled extensively and executed many sketches of the countryside, especially the gardens at the Villa d Este at Tivoli, and developed a great admiration for the work of Giovanni Battista Tiepolo. In 1765 his large historical painting Coresus Sacrifices Himself to Save Callirhoë was purchased for Louis XV and won Fragonard election to the French Royal Academy. He soon abandoned this style to concentrate on landscapes in the manner of Jacob van Ruisdael, portraits, and the decorative, erotic outdoor party scenes for which he became famous (e.g., The Swing, c. 1766). The gentle hedonism of such party scenes epitomized the Rococo style. Although the greater part of his active life was passed during the Neoclassical period, he continued to paint in a Rococo idiom until shortly before the French Revolution, when he lost his patrons and livelihood.   Related Paintings of Jean Honore Fragonard :. | Love as Conqueror | The Music Lesson (mk08) | The Swing | Education is Everything | Vivant Denon Replacing El Cid-s Remains in their Tombs |
Related Artists:
Osthaus, Edmund Henry
American, 1858-1928
Martin Johann Schmidt
Austrian Painter, 1718-1801,was one of the most outstanding Austrian painters of the late Baroque/Rococo along with Franz Anton Maulbertsch. A son of the sculptor Johannes Schmidt and a pupil of Gottlieb Starmayr, he spent most of his life at Stein, where he mostly worked in the numerous churches and monasteries of his Lower Austrian homeland. While the evolution of his style after 1750 shows that he had either spent a formative period in northern Italy or had at least had extensive contact with northern Italian works of art prior to that date, his works are also clearly influenced by Rembrandt (visible above all in his etchings) and the great fresco-painters of the Austrian Baroque, Paul Troger and Daniel Gran. Despite not having received formal academic training, in 1768 he was made a member of the imperial academy at Vienna due to his artistic merits, which by that time had already been recognized by a wider public inside and outside of Austria. Primarily he painted devotional images for private devotion and churches, including a considerable number of large altar paintings. His lively and colourful style made him extremely popular with people from all levels of society already during his lifetime. From 1780 mythological and low-life themes became increasingly frequent, only to be replaced by a renewed concentration on religious topics during the very last years of Schmidt's life. He was at that an important draughtsman and has left numerous etchings which clearly show Rembrandt's influence. While his earlier works typically show a warm chiaroscuro, from about 1770 he used increasingly stronger and more lively colours. Simultanueously, both his style and his brush technique became much more free, making him, like Franz Anton Maulbertsch, an important predecessor of impressionism. In this aspect, his mature style is completely contrary to neoclassicism, the style which increasingly dominated European art after about 1780.
Cornelis Bega
1632-1664 Dutch Cornelis Bega Galleries Dutch painter, draughtsman and etcher. He was born into prosperous circumstances; his mother, Maria Cornelis, inherited half the estate (gold, silver, paintings, drawings and prints) and all of the red chalk drawings of her father, Cornelis Cornelisz. van Haarlem, a renowned Mannerist artist. Begas father was Pieter Jansz. Begijn (d 1648), a gold- and silversmith. Like other family members, Bega was probably Catholic. Houbrakens claim that Bega studied with Adriaen van Ostade is likely to be correct; this was probably before 24 April 1653, when Bega joined Vincent Laurentsz. van der Vinne in Frankfurt for a journey through Germany, Switzerland and France. Bega had returned to Haarlem by 1 September 1654, at which time he joined the Guild of St Luke; he was already a competent draughtsman, as indicated by his first extant dated work, Interior with a Nursing Mother (1652; Frankfurt am Main, Stedel. Kstinst.), and by a remarkable double portrait (Amsterdam, Rijksmus.) drawn by him and Leendert van der Cooghen in 1654.