1532?C1625, The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century.   Related Paintings of Sofonisba Anguisciola :. | Autumn | October | Death of the Commissar | Die Seine with Pont de la Grande Jatte | Frida reworked a retablo she had found by repainting the victims face to resemble her own and writing the micacle performed on the scroll beneath the |
Related Artists:
Raimundo de Madrazo y Garreta
Spanish realist Painter , 1841-1920 Son of Federico de Madrazo y K?ntz. Because of his ability and training with his father, Federico, in the Real Academia de S Fernando in Madrid and with L?on Cogniet in Paris, he seemed destined to continue the family tradition of academic painting. However, due to the influence of the Belgian Alfred Stevens, of his brother-in-law, Mariano Jos? Bernardo Fortuny y Marsal, and the Parisian environment, he exchanged dry historical painting (e.g. Arrival in Spain of the Body of the Apostle St James, 1858, and Ataulfo, 1860) for the preciousness of the tableautin, the small, intimate genre painting. He lived in Paris and New York and became so remote from Spanish artistic life that he and Fortuny y Marsal were the only Spanish artists not to participate in any national exhibition, and because of this the Spanish state never directly acquired their works. In 1882, with Giuseppe De Nittis, Stevens and the gallery owner Georges Petit, he co-founded the Exposition Internationale de Peinture, designed to promote foreign artists in Paris. Madrazo Garreta's most characteristic works are the female portrait and the witty and elegant genre painting, with soft, delicate tones and suggestive poses. The influence of the Rococo and of Japanese art is reflected in his painting, which expresses an exquisite aristocratic or bourgeois ideal, the illusion of a refined, sensual and superficial life. Consequently,
edward hopper
American painter, printmaker and illustrator. He was brought up in a town on the Hudson River, where he developed an enduring love of nautical life. When he graduated from Nyack Union High School in 1899, his parents, although supportive of his artistic aspirations, implored him to study commercial illustration rather than pursue an economically uncertain career in fine art. He studied with the Correspondence School of Illustrating in New York City (1899-1900). He continued to study illustration at the New York School of Art (1900-1906), under Arthur Keller (1866-1925) and Frank Vincent Du Mond (1865-1951), but began to study painting and drawing after a year. Hopper began in the portrait and still-life classes of William Merrit Chase, to whose teaching he later referred only infrequently and disparagingly. He preferred the classes he took with Kenneth Hayes Miller and especially those of Robert Henri. Hopper s skill won his fellow students respect, as well as honours in the school where, by 1905, he was teaching Saturday classes.
Gillis Mostaert
Flemish Northern Renaissance Painter , b. ca. 1534, Hulst, d. 1598, Antwerp