active in Tuscany 1317-1347  Related Paintings of Lippo Memmi :. | kapellet i wien dar rudolf bisattes | Still life with tiger lilies | Pang plans Schwarz | Still life with two jugs and pumpkins | Studies of Self-Portrait |
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Mariano Fortuny y Marsal
1838-1874 Spanish Mariano Fortuny y Marsal Gallery He was born in Reus, a town near Taragona in the autonomous community of Catalonia in Spain. His father died when he was an infant, his mother by age 12, thus Mariano was raised by his grandfather, a cabinet-maker. His grandfather taught him to make wax figurines. At the age of 9, at a public competition in his town a local patron, Domingo Soberno, encouraged further study. At the age of 14 years he moved to Barcelona with his grandfather. A sculptor, Domingo Taleru, secured him a pension of to allow him to attend the Academy of Barcelona. There he studied for four years under Claudio Lorenzale, and in March of 1857 he gained a scholarship that entitled him to two years of studies in Rome starting in 1858. There he studied drawing and grand manner styles. In 1859, he was called by the Spanish government to depict the campaigns of the Spanish-Moroccan War. The expedition lasted for only about six months, and he returned to Spain in the summer of 1860. The battle of Tetuan by Mariano Fortuny (1863-73)Since the days of Velazquez, there had been a tradition in Spain of memorializing battles and victories in paint; and on the basis of his experiences, Fortuny was commissioned by the city of Barcelona to paint a large canvas diorama of the capture of the camps of Muley-el-Abbas and Muley-el-Hamed by the Spanish army. He began his composition of The battle of Tetuan on a canvas fifteen metres long; but though it worked on and off on it during the next decade, he never finished it. The greater influence of this travel on Fortuny was his subsequent fascination with the exotic themes of the world of Morocco, painting both individuals and imagined court scenes. He visited Paris in 1868 and shortly afterwards married Cecilia de Madrazo, the daughter of Federico Madrazo, who would become curator of the Prado Museum in Madrid. Together, they had a son, Mariano Fortuny y Madrazo, who became a well-known fashion and tapestry designer. Another visit to Paris in 1870 was followed by a two years' stay at Granada, but then he returned to Rome, where he died somewhat suddenly on the 21st of November 1874 from an attack of tertian ague, or malaria , contracted while painting in the open air at Naples and Portici in the summer of 1874. Fortuny paintings are colorful, with a vivacious iridescent brushstroke, that at times recalls the softness of Rococo painting but also anticipates impressionist brushwork, Fortuny??s recollection of Morocco is not a costume ball, but a fierce, realistic portrait which includes bare-chested warriors. Richard Muther states: ??his marvellously sensitive eye ?? discerned the stalls of Moorish carpet-sellers, with little figures swarming, and the rich display of woven stuffs of the East; the weary attitude of old Arabs sitting in the sun; the sombre, brooding faces of strange snake-charmers and magicians. This is no Parisian East??every one here speaks Arabic??. Fortuny often painted scenes where contemporary life had still not shaken off the epaulets and decorations of ancient traditions such a the ????Burial of a matador???? and couples signing marriage contracts (La Vicaria). Each has the dazzle of bric-a-brac [1]ornament, but as in his painting of the ????Judgement of the model????, that painterly decorative air of Rococo and Romanticism was fading into academicism and left to confront the naked reality of the represented object. He inherited Goya??s eye for the paradox of ceremony and reality.
Jacques Linard
(1597-1645) was a French painter of the first half of the 17th century. He painted still-lives. He was baptised on the 6th of September, 1597. His first records of being of artist was in the 1620's. He was married in 1626 to the daughter of a Parisian Master Painter. In 1631 he is quoted as a painter
Jan Gerritsz. van Bronckhorst
(1603-1661) was a Dutch Golden Age painter and engraver. He is considered today to be a minor member of the Utrecht Caravaggisti group. According to Houbraken, van Bronckhorst apprenticed as an eleven-year-old with the glass engraver Verburgh in Utrecht. He worked with him for 6 months and worked with two other Utrecht glassworkers before embarking on a Grand Tour in 1620. He did not get far before he was offered work in Arras by the glassworker Peeter Matthys. After six months, he continued on to Paris in 1620, where he worked with the glassworker Chamu. He returned to Utrecht in 1622, where Cornelis Poelenburg taught him to paint. He married Catalijntje van Noort in 1626. He frequented the studio of Gerard van Honthorst. In 1647 he moved to Amsterdam where he created the stained glass windows and the organ doors (almost the only area in a Calvinist church where figurative painting was sometimes allowed) of the Nieuwe Kerk (finished in 1655). He has been described as the last of the great stained glass painters in Holland.. Unlike his work for churches, his secular paintings show the influence of Caravaggio, and also show a striking appeal to sensuality. Among his pupils are counted his sons Jan Jansz and Gerrit Jansz, and Cesar van Everdingen.