Philip Alexius de Laszlo, MVO (30 April 1869 Budapest - 22 November 1937 London) was a Hungarian painter known particularly for his portraits of royal and aristocratic personages. Laszlo was born in Budapest as Laub Fulop Elek (Hungarian style with the surname first), the eldest son of a Jewish tailor. The family changed its name to Laszlo in 1891. As a young man, Laszlo apprenticed to a photographer while studying art, eventually earning a place at the National Academy of Art, where he studied under Bertalan Szekely and Karoly Lotz. He followed this with studies in Munich and Paris. Laszlo's portrait of Pope Leo XIII earned him a Grand Gold Medal at the Paris International Exhibition in 1900. In 1903 Laszlo moved from Budapest to Vienna. In 1907 he moved to England. He remained based in London for the rest of his life while traveling the world to fulfill commissions. Laszlo's patrons awarded him numerous honors and medals. In 1909 he was named an honorary Member of the Royal Victorian Order by King Edward VII of the United Kingdom. In 1912 he was ennobled by King Franz Joseph of Hungary; his surname became "Laszlo de Lombos". The family later shortened the name to "de Laszlo". Laszlo became a British citizen in 1914 but was interned for over twelve months in 1917 and 1918 during the First World War.   Related Paintings of Philip Alexius de Laszlo :. | Portrait of Lady Rachel Cavendish, later Viscountess Stuart of Findhorn | Portrait of Vita Sackville-West | Queen Marie of Roumania, nee Princess Marie of Edinburgh, 1936 | Ailsa Mellon Bruce | Princess Elizabeth of York, currently Queen Elizabeth II of the United Kingdom, painted when she was seven years ol |
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Baron Jean-Baptiste Regnault
Paris 1754-1829 French painter. His first teacher was the history painter Jean Bardin, who took him to Rome in 1768. Back in Paris in 1772, he transferred to the studio of Nicolas-Bernard Lepicie. In 1776 he won the Prix de Rome with Alexander and Diogenes (Paris, Ecole N. Sup. B.-A.) and returned to Rome, where he was to spend the next four years at the Academie de France in the company of Jacques-Louis David and Jean-Francois-Pierre Peyron. While witnessing at first hand Peyron's development of a manner indebted to Poussin and David's conversion to Caravaggesque realism, Regnault inclined first towards a Late Baroque mode in a Baptism of Christ (untraced; recorded in two sketches and an etching), then, in Perseus Washing his Hands (1779; Louisville, KY, Speed A. Mus.), to the static Neo-classicism of Anton Raphael Mengs.
ALBERTINELLI Mariotto
Italian Early Renaissance Painter, 1474-1515 Already as a 12-year old boy, he became a pupil of Cosimo Rosselli, and a fellow-pupil with Fra Bartolomeo with whom he formed such an intimate brotherly rapport that in 1494 the two started their own studio in Florence. Vasari's opinion was that Mariotto was not so well grounded in drawing as Bartolomeo, and he tells that, to improve his hand he had taken to drawing the antiquities in the Medici garden, where he was encouraged by Madonna Alfonsina, the mother of Duke Lorenzo II de' Medici. When the Medici were temporarily banished in 1494, he returned to his friend, whose manner he copied so assiduously, according to Vasari, that his works were taken for Baccio's. When, in the wake of Savonarola's morality campaign, Baccio joined the Dominican order as Fra Bartolomeo in 1500 and gave up painting, Albertinelli, beside himself with the loss, would have joined him; but, spurred by his success in completing an unfinished Last Judgment of Bartolomeo's, he resolved to carry on alone. Among his many students were Jacopo da Pontormo, Innocenzo di Pietro Francucci da Imola and Giuliano Bugiardini. Albertinelli's paintings bear the imprint of Perugino's sense of volumes in space and perspective, Fra Bartolomeo's coloring, the landscape portrayal of Flemish masters like Memling, and Leonardo's Sfumato technique. His chief paintings are in Florence, notably his masterpiece, the Visitation (1503) at the Uffizi.
Arifi
The Sixteenth century Ottoman court poet