French Neoclassical Painter, 1780-1867 was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..  Related Paintings of Jean-Auguste Dominique Ingres :. | Portrait of woman | Portrait of Zaerci | Yusefu | Paolo and Francesca, | comtesse d haussonville |
Related Artists:
anna maria thelott
Anna Maria Thelott, född 1683, död 1710, var en svensk konstnär. Thelott var en av de första självförsörjande och professionella kvinnliga konstnärerna i Skandinavien. Anna Maria Thelott var dotter till instrumentmakaren och konstnären Philip Jacob Thelott d.ä., som ursprungligen kom från Schweiz, och syster till konstnären Philip Jacob Thelott d.y. Hon arbetade redan som barn sin med far och sina bröder i arbetet med att illustrera Olof Rudbeck d.ä.:s "Campus Elysii" och "Atlantica", och bidrog snart till hushållets försörjning genom att ensam utföra olika konstnärliga arbeten mot betalning, vilket gjorde henne till landets troligen första kvinnliga yrkeskonstnär. Familjen bodde ursprungligen i Uppsala, men flyttade år 1702 till Stockholm efter den stora stadsbranden då en stor del av Uppsala brann ned. Thelott var en mångsidig konstnär som var kunnig på en rad områden; hon utförde träsnitt och kopparstick förutom teckning och illustrationer med allegoriska och religiösa motiv, miniatyrer och bilder av djur och landskapsmålningar. Hon utförde elva träsnitt av tyska städer med tillhörande informativ text på uppdrag av Posttidningen år 1706 och anlitades för att illustrera Peringskiölds arbeten. År 1710 dog Anna Maria Thelott i Stockholm som en av många offer för den sista pesten i Sverige. På Uppsala universitetsbibliotek finns en skissbok av henne utförd 1704-1709.
Orlandi, Deodato
Flemish Northern Renaissance Painter, ca.1488-1541
Giovanni Antonio Fumiani
(1645-1710) was an Italian painter of the Baroque period. Born in Venice in 1645, he trained in Bologna under Domenico degli Ambrogi, a specialist in quadratura, but by 1668 he was back in Venice, where he painted a Virgin and Saints in San Benedetto. He was influenced by Ludovico Carracci and Alessandro Tiarini, and soon also became interested in the work of Paolo Veronese, so that he started to use elaborate architectural settings and brighter colours. He painted a Virgin Appearing to Pius V (1674; Vicenza, S Lorenzo), whose monumentality foreshadows Tiepolo, whereas mosaics in San Marco, created in 1677 from Fumianies cartoons, are closer to the idiosyncratic art of Pietro della Vecchia. He contributed to the decoration of San Rocco (1675, 1676, 1678), where he painted a large canvas of the Charity of St Roch on the ceiling of the nave, In his smaller paintings, however, such as the modelli (Florence, Uffizi) painted for the Ferdinand de Medici, Grand Prince of Tuscany, for whom he worked for a long time, with Niccole Cassana acting as intermediary, Fumiani revealed a lively decorative sense and a taste for animated, sensual subjects that produced works of great quality. His last work is the large lunette depicting Frederick III visiting St Zacharyes Convent in the Company of the Doge (Venice, San Zaccaria). The decoration of San Pantalon with scenes from the Life of St Pantaleon (1680-1704) utilized canvases to cover a large ceiling (25x50 m), an ambitious undertaking, both in its scale and in the unity of the magniloquent images, that parallels Andrea Pozzoes decoration at the church of Sant'Ignazio in Rome. Fumiani was responsible for painting what is claimed to the largest painting on canvas in the world and covers the whole of the ceiling of the church Chiesa di San Pantaleone Martire, known as San Pantalon, in Venice. The painting depicts The Martyrdom and Apotheosis of St Pantalon, which he painted from 1680 until 1704. He putatively died from a fall from a scaffold, although some sources date his death to six years after he stopped work on the canvas