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 :. | The Violinist Niccol | Portrait of Peier | Monsieur Bertin | Count N.D.Guriev | Davi |
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Jan Kupecky
(in German: Johann Kupetzky, in Hungarian: Kupecky Jenos, or Kupeczky Jenos, 1667, Bazin, Royal Hungary (today Slovakia) - 1740, Nernberg, Germany) was a Czech and Slovak portrait painter during the baroque. He was active in Hungary, Slovakia, Vienna and Nernberg. Kupecký, like many people at that time, was the son of Protestant (Czech Brethren) parents from the Czech lands (Mlade Boleslav) who sought refuge in Slovakia (constituting the core of Royal Hungary at that time) from religious persecution by the Catholics. He was born in Pezinok - a town near Bratislava. According to the sources he began his studies with the Swiss painter Benedikt Klaus, who was active in both Vienna and in Royal Hungary. At the age of twenty, Kupecký went on a long Italian study trip. In Rome Prince Aleksander Benedykt Sobieski, the son of the Polish king John III Sobieski, helped him to become famous. He returned to Vienna in 1709, after twenty-two years spent in Venice and Rome. We know very little of his Italian activity as well as his early works and his setting in Vienna. According to his contemporary biographer, the Swiss Johann Caspar Fessli, the Protestant Kupecký, who faithfully clung to his ancestor's religion, remained withdrawn and isolated in Vienna's Catholic milieu, which was under the influence of the court and the aristocracy. However this concept is partly contradicted by the fact that the master had significant courtly commissions while working in Vienna. He painted portraits of various members of the dynasty, Prince Eugene of Savoy, several aristocrats, and, in Karlovy Vary, even of the Russian Czar Peter I. The rich ceuvre of this period comprises a series of gorgeous portraits of Kupecky's family, friends and the painter himself, as well as several persons, whose identity in unknown. In 1733 Kupecký, fearing religious persecution, fled from Vienna to Nernberg with his family and worked there until his death in 1740. As the most significant portrait painter of contemporary Germany, he was commissioned by a large number of German princes, church dignitaries rich merchants and scholars, and his works were popularized by engravings even during his lifetime. Through his pupils and followers Kupecký's influence and artistic example remained alive and widespread for a long time.
Panini, Giovanni Paolo
Italian Neoclassical Painter, ca.1691-1765 Italian painter, architect and stage designer. He was a highly prolific and versatile painter, best known for his numerous vedute of Rome, many of which focused on the remnants of the city's Classical past. Ceremonies and festivals often feature in his vedute, which thus constitute a lively documentation of contemporary topography, lifestyle and customs. In contrast to Bernardo Bellotto and Gaspar van Wittel, his treatment is picturesque rather than rigorous; he liked to enliven and animate his views by adding numerous figures. He worked exclusively in Rome and by the end of his career was the head of a thriving workshop that included the Frenchman Hubert Robert (in Rome from 1754) and Panini's son Francesco Panini (b 1738).
Jean Charles Cazin
1841-1901 French Jean Charles Cazin Location Painter and ceramicist. His earliest paintings reveal close affinities with the realist tradition, while his later compositions (mostly landscapes of northern France) demonstrate an awareness of Impressionism and a commitment to recording the changing effects of light and atmosphere. He was sent to England for health reasons but by 1862 or 1863 was living in Paris and active in avant-garde artistic circles. In 1863 he exhibited Recollections of the Dunes of Wissant (untraced), a work based on close observation of the coastline of northern France, at the Salon des Refuses. He enrolled at the Ecole Gratuite de Dessin under Horace Lecoq de Boisbaudran, where he became friends with Alphonse Legros, Thodule Ribot, Henri Fantin-Latour and Leon Lhermitte, all of whom adopted Boisbaudran method of developing paintings from memory as a way of heightening perceptions. During this period Cazin also met Marie Guillet, whom he married in 1868.