1702-1785 Italian Pietro Longhi Galleries Pietro Longhi was born in Venice in the parish of Saint Maria, first child of the silversmith Alessandro Falca and his wife, Antonia. He adopted the Longhi last name when he began to paint. He was initially taught by the Veronese painter Antonio Balestra, who then recommended the young painter to apprentice with the Bolognese Giuseppe Maria Crespi, who was highly regarded in his day for both religious and genre painting. He was married in 1732 to Caterina Maria Rizzi. Among his early paintings are some altarpieces and religious themes. In 1734, he completed frescoes in the walls and ceiling of the hall in Ca' Sagredo, representing the Death of the giants. Henceforward, his work would lead him to be viewed in the future as the Venetian William Hogarth, painting subjects and events of everyday life in Venice. The gallant interior scenes reflect the 18th century's turn towards the private and the bourgeois. Many of his paintings show Venetians at play, such as the depiction of the crowd of genteel citizens awkwardly gawking at a freakish Indian rhinoceros (see image). This painting chronicles Clara the rhinoceros brought to Europe in 1741 by a Dutch sea captain and impresario from Leyden, Douvemont van der Meer. This rhinoceros was exhibited in Venice in 1751. There are two versions of this painting, nearly identical except for the unmasked portraits of two men in Ca' Rezzonico version. Ultimately, there may be a punning joke to the painting, since the young man on the left holds aloft the sawed off horn (metaphor for cuckoldry) of the animal. Perhaps this explains the difference between the unchaperoned women. Other paintings chronicle the daily activities such as the gambling parlors (Riddoti) that proliferated in the 18th century. In some, the insecure or naive posture and circumstance, the puppet-like delicacy of the persons, seem to suggest a satirical perspective of the artists toward his subjects. Nearly half of the figures in his genre paintings are faceless, hidden behind Venetian Carnival masks. Like Crespi before him, Longhi was commissioned to paint seven canvases documenting the seven Catholic sacraments. Longhi is well-known as a draughtsman, whose drawings were often done for their own sake, rather than as studies for paintings. Pietro's son, Alessandro, was also an accomplished painter. A paraphrase of Bernard Berenson states that "Longhi painted for the Venetians passionate about painting, their daily lives, in all dailiness, domesticity, and quotidian mundane-ness. In the scenes regarding the hairdo and the apparel of the lady, we find the subject of gossip of the inopportune barber, chattering of the maid; in the school of dance, the amiable sound of violins. It is not tragic... but upholds a deep respect of customs, of great refinement, with an omnipresent good humor distinguishes the paintings of the Longhi from those of Hogarth, at times pitiless and loaded with omens of change".  Related Paintings of Pietro Longhi :. | Die Verkauferin der Essenzen | Portrat einer venezianischen Familie | Der Scharlatan | The visit in the lord | The Marriage |
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Jan Weissenbruch
painted Johan Hendrik Louis Meijer in 1850 - 1866
Leonhard Beck
German Northern Renaissance Painter, ca.1480-1542, Illuminator, painter, draughtsman and woodcutter, son of Georg Beck. He first appears as an illuminator and collaborator with his father in two Psalters for the Augsburg monastery of SS Ulrich and Afra in 1495, producing 35 coloured initial letters for each of them (Augsburg, Staats- & Stadtbib., Cod. 49a). These are vigorously coloured but fairly uniform in character, with small, lively biblical scenes excellently adapted to the letters. Red, green and blue predominate; ochre tones provide a link with the gold ground. The initial letter X is composed of splendidly curled, entwining foliage with birds and half-figures of prophets; the Virgin, Joseph, the Christ Child in the manger and the choir of angels are each enclosed in one of its sectors. The figures are presented in a light, easy manner; the draughtsmanship avoids unnecessary detail.
Stefano della Bella
Italian Baroque Era Printmaker, 1610-1664,was an Italian printmaker known for etchings of many subjects, including military ones. He was born at Florence, and apprenticed initially to a goldsmith, but became an engraver working under Orazio Vanni and then Cesare Dandini. He studied etching under Remigio Cantagallina, who had also been the instructor of Jacques Callot, who had lived in Florence 1612-1621, and whose prints imparted a strong influence to printmakers. The patronage of Don Lorenzo de Medici enabled della Bella to study for three years in Rome. In Rome, he created a then admired print of the cavalcade celebrating the entry of the Polish ambassador into Rome in 1633. He also created a number of prints of views of Rome. In 1642 he went to Paris, introduced by the Tuscan ambassador, Alessandro del Nero, and where he resided for seven years. Cardinal Richelieu engaged him to go to Arras and make drawings of the siege and taking of that town by the royal army. After residing a considerable time at Paris he returned to Florence, where he obtained a pension from the grand duke, whose son, Cosimo de Medici, he instructed in drawing. His productions were very numerous, amounting to over 1000 separate pieces. He is known to have illustrated some discoveries for Galileo. See entry for Hansken for his etching of the famous elephant after death. Wikimedia Commons has media related to: Stefano della Bella