Italian painter, Umbrian school (b. 1450, Citta della Pieve, d. 1523, Perugia). Italian painter and draughtsman. He was active in Perugia, Florence and Rome in the late 15th century and early 16th. Although he is now known mainly as the teacher of Raphael, he made a significant contribution to the development of painting from the style of the Early Renaissance to the High Renaissance. The compositional model he introduced, combining the Florentine figural style with an Umbrian use of structure and space,  Related Paintings of PERUGINO, Pietro :. | Madonna with Saints Adoring the Child a | Madonna and Child with Saints John the Baptist and Sebastian | St. Jerome Supporting Two Men on the Gallows | The Pazzi Crucifixion (detail) af | The Vision of St Bernard (mk08) |
Related Artists:
Maron, Anton von
Austrian, 1733-1808 Austrian painter. He studied at the Vienna Akademie and, in 1755, he went to Rome, where he was based for the rest of his life. From 1756 to 1761 he was first the pupil then the assistant of Anton Raphael Mengs. In 1765 he married Mengs's sister, the miniature painter Theresia Concordia Mengs. After collaborating on Mengs's fresco paintings in Rome (at S Eusebio and the Villa Albani; both in situ), Maron, working independently in Rome, spent some time on altar pictures (S Maria dell'Anima) and on various decorative projects. Mengs's influence is evident in Maron's ceiling pictures in the casino of the Villa Borghese (1784; in situ), where five paintings tell the Story of Aeneas and Dido in the style of quadri riportati, using clear construction, sharply defined drawing and a historical concept based on antiquity. Although he received many commissions for this type of work, Maron's true gifts lay in the field of portraiture. Along with Pompeo Batoni, Maron was the most celebrated portrait painter in 18th-century Rome, and he received an enormous number of commissions from princes, diplomats and church dignitaries and from English aristocrats visiting Rome as part of their Grand Tour. Maron painted such sitters in the same style as did Batoni, usually full-length and life-size, in elegantly fashionable dress, against backgrounds of Classical sculptures and views of Rome. Portraits such as those of Francis, Prince of Anhalt Dessau
Louis Joseph Anthonissen
Belgian Painter, 1849-1913
Adolf Schreyer
German Academic Painter, 1828-1899,German painter, was born at Frankfurt-am-Main. He studied art first at the Städel Institute in his native town, and then at Stuttgart and Munich. He painted many of his favourite subjects in his travels in the East. He first accompanied Prince Thurn and Taxis through Hungary, Wallachia, Russia and Turkey; then, in 1854, he followed the Austrian army across the Wallachian frontier. In 1856 he went to Egypt and Syria, and in 1861 to Algiers. In 1862 he settled in Paris, but returned to Germany in 1870; and settled at Cronberg near Frankfurt, where he died. Arab Horsemen by Schreyer.Schreyer was, and is still, especially esteemed as a painter of horses, of peasant life in Wallachia and Moldavia, and of battle incidents. His work is remarkable for its excellent equine draughtsmanship, and for the artist's power of observation and forceful statement; and has found particular favour among French and American collectors. Of his battle-pictures there are two at the Schwerin Gallery, and others in the collection of Count Mensdorff-Pouilly and in the Raven Gallery, Berlin. His painting of a Charge of Artillery of Imperial Guard was formerly at the Luxembourg Museum. The Metropolitan Museum, New York owns three of Schreyer's oriental paintings: Abandoned, Arabs on the March and Arabs making a detour; and many of his best pictures are in the Rockefeller family, Vanderbilt family, John Jacob Astor, William Backhouse Astor, Sr., August Belmont, and William Walters collections.