Italian Mannerist Painter, ca.1518-1594 His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.  Related Paintings of Tintoretto :. | Portrait of a Woman Revealing her Breasts | Die Schlacht am Taro | The descent from the Cross | Christ Crowned with Thorns | San Roch |
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anna maria thelott
Anna Maria Thelott, född 1683, död 1710, var en svensk konstnär. Thelott var en av de första självförsörjande och professionella kvinnliga konstnärerna i Skandinavien. Anna Maria Thelott var dotter till instrumentmakaren och konstnären Philip Jacob Thelott d.ä., som ursprungligen kom från Schweiz, och syster till konstnären Philip Jacob Thelott d.y. Hon arbetade redan som barn sin med far och sina bröder i arbetet med att illustrera Olof Rudbeck d.ä.:s "Campus Elysii" och "Atlantica", och bidrog snart till hushållets försörjning genom att ensam utföra olika konstnärliga arbeten mot betalning, vilket gjorde henne till landets troligen första kvinnliga yrkeskonstnär. Familjen bodde ursprungligen i Uppsala, men flyttade år 1702 till Stockholm efter den stora stadsbranden då en stor del av Uppsala brann ned. Thelott var en mångsidig konstnär som var kunnig på en rad områden; hon utförde träsnitt och kopparstick förutom teckning och illustrationer med allegoriska och religiösa motiv, miniatyrer och bilder av djur och landskapsmålningar. Hon utförde elva träsnitt av tyska städer med tillhörande informativ text på uppdrag av Posttidningen år 1706 och anlitades för att illustrera Peringskiölds arbeten. År 1710 dog Anna Maria Thelott i Stockholm som en av många offer för den sista pesten i Sverige. På Uppsala universitetsbibliotek finns en skissbok av henne utförd 1704-1709.
GRAFF, Anton
Swiss-born German Painter, 1736-1813 Swiss painter, active in Germany. He was a pupil of Johann Ulrich Schellenburg (1709-95) in Winterthur and continued his training with Johann Jakob Haid in Augsburg between 1756 and 1765. He worked for the court painter Leonhard Schneider (1716-62) in Ansbach from 1757 to 1759, producing large numbers of copies of a portrait of Frederick the Great (probably by Antoine Pesne). This was an important step in furthering his career, as were the months he spent in Regensburg (1764-5) painting miniatures of clerics and town councillors. He was court painter to the Elector Frederick-Christian of Saxe-Weimar in Dresden from 1766 and taught at the Hochschule der Bildende Kenste there. In 1771 he travelled to Berlin, where he painted portraits of Jakob Mendelssohn, Gotthold Ephraim Lessing and J. G. Sulzer. Sulzer introduced him at court, which resulted in many commissions. He was invited several times to teach at the Akademie der Kenste in Berlin, but he remained in Dresden. He often travelled to Leipzig, and in summer he frequently went to Teplitz
Jean Clouet
French Painter, ca.1485-1541 painter. He was chief painter to Francis I and produced many pastel portraits of members of the French court. Clouet was one of the best 16th-century portrait painters, both incisive and delicate in the psychological characterization of sitters. His drawings are simple, broad, and subtle; his paintings are fresh in colour, subdued in modeling, and minute in execution. He was celebrated in his lifetime as the equal of Michelangelo. His son Francois Clouet (c. 1515 ?C 72) took his place as official painter to Francis I in 1540.