Italian Early Renaissance Painter, ca.1390-1450  Related Paintings of SASSETTA :. | Miracle of the sacrament | St Thomas Inspired by the Dove of the Holy Ghost | Miracle of the Eucharisty | The Mystic Marriage of St Francis | The Legend of the Wolf of Gubbio |
Related Artists:
Tadeusz Ajdukiewicz
1852 in Wieliczka ?C January 9, 1916 in Krak??w) was a Polish painter. From 1868 to 1873, he followed Władysław Luszczkiewicz classes in the Fine art school of Krakow. Later, he was in Vienna and Munich and in J??zef Brandt's atelier. In 1877, he travelled to Paris and Near East. In 1882, he lived in Vienna, where he worked for the aristocracy. In 1883, he went to London, where he made Prince of Wales' portrait. In 1884, to Constantinople, he was sultan Abdhulhamid II's guest. And he woked later in Sofia, Saint Petersburg and Bucharest. He joined the Polish Legions in 1914, during World War I, and he died in one of the battles of this war. He's first cousin was Zygmunt Ajdukiewicz.
Woolner, Thomas
1825 - 1892,English sculptor and poet. He ranks with John Henry Foley as the leading sculptor of mid-Victorian England. He trained with William Behnes and in 1842 enrolled as a student at the Royal Academy, London. In 1844 he exhibited at Westminster Hall, London, a life-size plaster group, the Death of Boadicea (destr.), in an unsuccessful attempt to obtain sculptural commissions for the Houses of Parliament. His earliest important surviving work is the statuette of Puck (plaster, 1845-7; C. G. Woolner priv. col.), which was admired by William Holman Hunt and helped to secure Woolner's admission in 1848 to the Pre-Raphaelite Brotherhood. The work's Shakespearean theme and lifelike execution, stressing Puck's humorous malice rather than traditional ideal beauty, made it highly appealing. Although eclipsed by Hunt, John Everett Millais and Dante Gabriel Rossetti, Woolner was an important figure in the Brotherhood. He contributed poetry to its journal, The Germ (1850), and his work was committed to truthfulness to nature more consistently than that of any other Pre-Raphaelite, except for Hunt. This is evident in Woolner's monument to William Wordsworth (marble, 1851; St Oswald, Grasmere, Cumbria).
Christen Kobke
1810-1848 Danish Christen Kobke Galleries He lived in Kastellet until 1833 and made many paintings of the area. His painting "Gården ved bageriet i Kastellet" (ca. 1832) hangs in the Ny Carlsberg Glyptotek museum in Copenhagen. In 1832 he shared a studio with friend, landscape painter Frederik Hansen Sødring. He painted a portrait of Sødring which now hangs in the Hirschsprung Collection. In 1834 he moved, along with his parents, outside of Copenhagen??s fortifications near Sortedamssøen, a lake area. He painted many views overlooking the lake towards the city and the embankments surrounding the city. His work becomes larger, more monumental. Like many of his contemporary artists he came under the influence of Niels Lauritz Høyen, art historian, who promoted a nationalistic art. Høyen called for artists to search for subject matter in the folk life of their country instead of searching for themes in other lands, such as Italy (which was at that time considered a requirement for an artist??s training). On a visit to Hillerod in 1835 he painted a romantic picture of Frederiksborg Palace, "Frederiksborg Slot ved Aftenbelysning" ("Frederiksborg Palace in the Evening Light"). At the end of 1837 he married Susanna Cecilie Kobke (1810-1849), and shortly afterwards painted a portrait of his young bride. One of the Small Towers on Frederiksborg Castle, c.1834-35.In 1838 he received a travel stipend from the Academy, left his new wife and traveled over Dresden and Munich to Italy accompanied by decorative painter Georg Hilker. They arrived in Rome by year??s end where he met brother-in-law Frederik Christopher Krohn, sculptor and medallionist, and many other Danish artists. He traveled, along with Constantin Hansen the following summer to Naples, Sorrento, Pompeii and Capri where he painted out in the open air. He returned home in 1840 with a large collection of sketches for later use and inspiration. Unfortunately, most his later work with these Italian themes was uninspired, and they found little favor. Kobke even considered at the time becoming a decoration painter, having participated in 1844-1845 in the decoration of the Thorvaldsens Museum, a museum dedicated to the artistic works of Bertel Thorvaldsen. Two years after his father died in 1843 the family sold the property outside Copenhagen, and Kobke moved back into the city. His application for admission to the Academy, which was accompanied by one of his failed Italian landscapes, was rejected in 1846. He died in 1848 of pneumonia, and is buried in Assistens Kirkegard. Kobke, a national romantic, painted portraits, landscapes and architectural paintings. Most of Kobke??s portraits show friends, family members and fellow artists. He found most of his motifs in his immediate surroundings. Now he is recognized internationally for his well composed and harmonic paintings, for their coloristic qualities and for his sense of the everyday life. But in his lifetime he was almost forgotten, especially because of his early death and limited production. Despite his talent and the praise of various contemporaries, Kobke had never been inundated with commissions. Kobke is recognized today as one of the most talented among Denmark??s Golden Age painters and the most internationally renowned Danish painter of his generation. The painterly interpretations he made of his surroundings stand as highpoints of the period. His works are in the collections of not only Danish museums but also such international museums as the J. Paul Getty Museum