Russian Symbolist Painter, 1856-1910 Russian painter and draughtsman. He was a pioneer of modernism, and his highly innovative technique broke with the traditions of the Academy of Arts in St Petersburg, where he had been a brilliant student; at the same time he felt dissociated from the social consciousness of The Wanderers.  Related Paintings of Mikhail Vrubel :. | Princess Volkhova:Nadezhda zabela-vrubel as volkhova in the opera sadko by nikolai rimsky-Korsakov | Valkyrie | The Demon Carried off (mk19) | Head of the Demon | The Propylaea,Athens |
Related Artists:
ES, Jacob van
Flemish painter (b. ca. 1596, Antwerpen, d. 1666, Antwerpen) Flemish painter. Together with Osias Beert and Clara Peeters, he was one of the leading representatives of the archaizing trend in Flemish still-lifes. His birthplace is known from the text on an engraving by Wenceslaus Hollar after a painting by Jan Meyssens (1612-70). Van Es became a master in Antwerp in 1617 but did not join the Guild of St Luke until 1645. Jacob Gillis and Jan van Thiene were his pupils in 1621 and 1623 respectively. He enjoyed a certain esteem among fellow artists, for Jacob Jordaens, Cornelis Schut the elder and Deodaat del Monte were godfathers to his children. Numerous mentions of works by van Es in inventories of 17th-century Antwerp collectors further testify to his success
HEDA, Willem Claesz.
Dutch painter (b. 1594, Haarlem, d. 1680, Haarlem). Dutch still-life painter. His excellent studies of tables laden with food, called ontbijt still life, are seen in many important European galleries. They are characterized by delicate lighting effects and somber colors.
FRANCIABIGIO
Italian High Renaissance Painter, 1484-1525 Italian painter. The son of a Milanese linen-weaver, he had completed his apprenticeship, in Florence, by 18 October 1504. His earliest documented works, for example a Piete (1506) for S Pancrazio, Florence, have not survived. According to Vasari, Franciabigio trained with Mariotto Albertinelli, in whose last work, the signed and dated Crucifixion (1506; Florence, Certosa del Galluzzo, Pin.), he painted the angels (Shearman). In December 1508 the names of Franciabigio and Andrea del Sarto, who sometime between autumn 1506 and 1509 set up a joint workshop, were entered in the registration book of the Arte de' Medici e Speziali, to which painters were required to belong. The Portrait of a Young Man (Paris, Louvre) dates from this period. The work, which was later enlarged, shows the subject half-length, leaning pensively against a balustrade, with strong areas of shadow around the eyes. This is the first in a series of male portraits typical of Franciabigio: the subjects, each of whom wears a hat, are mostly placed in front of a landscape, with their gaze fixed meditatively or piercingly on the onlooker. The religious works from this period, such as the Virgin and Child (1509; Rome, Pal. Barberini), also show a movement away from the style of Albertinelli and Raffaellino del Garbo and begin to reveal instead the influence of Leonardo, Michelangelo and, especially, Raphael. Yet Franciabigio's connection with Andrea del Sarto was the determining factor in his career. When in 1509 it was del Sarto who received the commission to complete the fresco cycle in the atrium of SS Annunziata, Florence, their relationship altered significantly.