Italian 1494-1557 Jacopo Pontormo Galleries Italian painter and draughtsman. He was the leading painter in mid-16th-century Florence and one of the most original and extraordinary of Mannerist artists. His eccentric personality, solitary and slow working habits and capricious attitude towards his patrons are described by Vasari; his own diary, which covers the years 1554-6, further reveals a character with neurotic and secretive aspects. Pontormo enjoyed the protection of the Medici family throughout his career but, unlike Agnolo Bronzino and Giorgio Vasari, did not become court painter. His subjective portrait style did not lend itself to the state portrait. He produced few mythological works and after 1540 devoted himself almost exclusively to religious subjects. His drawings, mainly figure studies in red and black chalk, are among the highest expressions of the great Florentine tradition of draughtsmanship; close to 400 survive, forming arguably the most important body of drawings by a Mannerist painter. His highly personal style was much influenced by Michelangelo, though he also drew on northern art, primarily the prints of Albrecht Derer.  Related Paintings of Jacopo Pontormo :. | Profilportrat eines Mannes | Three Graces | Portrat des Niccolo Ardinghelli | Anbetung der Heiligen Drei Konige | Hl. Antonius Abbas |
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Zdenka Braunerova
(April 9, 1858 - May 23, 1934 in Prague) was a Czech painter and graphic designer. A prominent Czech artist, she takes her place on history alongside the likes of Chittussi, Mršt??k, Zeyer, Marten, Joža Uprka and sculptors František B??lek and Jan Zrzavý. Zrzavý described her as "... an extraordinary woman, funny, educated, genuine." He continued, "She had a wonderful, incisive intellect and a special charm. When I met her, she was sixty. Mirth and optimism are had by a only a few people. She supplied me with faith and zest for life",
Sylvester Shchedrin
1791-1830,was a Russian landscape painter. Sylvestr Shchedrin was born in St. Petersburg into the family of the famous sculptor Pheodosiy Shchedrin, rector of the Imperial Academy of Arts. The landscape painter, Semion Shchedrin, was his uncle. In 1800, Sylvester Shchedrin entered the Imperial Academy of Arts in St. Petersburg, where he studied landscape painting. Among his teachers were his uncle, Semion Shchedrin, Fedor Alekseev, M.M. Ivanov and Thomas de Thomon.[1]. In 1811e graduated with several awards including the Large Gold Medal for his painting View from Petrovsky Island that gave him a scholarship to study abroad. Lake of Albano, 1825Sylvester left for Italy in 1818, delayed due to the Napoleonic Wars. In Italy, he studied the old masters in Rome; goes to Naples to paint watacolrs ordered by Grand Duke Mikhail Pavlovich of Russia; then return back to Rome. The biggest achievement of that period was New Rome. castle Sant'Angelo (1823) It was such a great success that he has painted 8..10 variations of the painting, each from a slightly different angle and with different details. His pension ended in 1823, but he decided to stay in abroad as a freelance painter. In 1825 he finished his work Lake of Albano that was a new step in his movement to the natural composition. In this painting he relaxed the boundary between subject and background, moved from using the formal colors. Shchedrin had many commissions and grew to become a well-known artist in Italy. He lived in Rome and Naples, working en plein air, drawing bays and cliffs and views of small towns and fishermen villages. One of his favorite motifs were terraces in vines with a view of the sea. Referred as the images of the "Midday Paradis".At the end of the 1820s, Shchedrin began to draw nighttime uneasy, almost nightmarish landscapes, which may have been inspired from his gradually declining health. He died in Sorrento in 1830.
Anthony Van Dyck
Dutch 1599-1641 Anthony Van Dyck Locations Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck studies in oil of characterful heads were included in Rubens estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses, where they were appreciated as much for their own sake as for the identities and families of the sitters.