Edouard Vuillard Galleries
Jean-Edouard Vuillard, the son of a retired captain, spent his youth at Cuiseaux (Saone-et-Loire); in 1878 his family moved to Paris in modest circumstances. After his father\'s death, in 1884, Vuillard received a scholarship to continue his education. In the Lycee Condorcet Vuillard met Ker Xavier Roussel (also a future painter and Vuillard\'s future brother in law), Maurice Denis, musician Pierre Hermant, writer Pierre Veber and Lugne-Poe. On Roussel\'s advice he refused a military career and entered the Ecole des Beaux-Arts, where he met Pierre Bonnard.
In 1885, Vuillard left the Lycee Condorcet and joined his closest friend Roussel at the studio of painter Diogene Maillart. There, Roussel and Vuillard received the rudiments of artistic training. Related Paintings of Edouard Vuillard :. | The mother s hair grown | Threading | Wearing a white shirt Vial | Lay | Under the desk lamp of conversation |
Related Artists:Vicente Carducho
(in Spanish, sometimes Vicencio or Vicente Carducho; 1568-1638) was an Italian painter.
He was born in Florence, and was trained as a painter by his brother Bartolomeo, whom he followed to Madrid as a boy.
He Initially painted some works at Valladolid and helped his brother in painting at the Escorial for Philip II of Spain. He returned to the court of Philip III in Madrid in 1606 and helped decorate the recently rebuilt Palacio del Pardo. While at work his brother died, and Vicente took his place. He painted there a history of Achilles. When finished, he was employed for four years by the monks of the Chartreuse of el Paular to decorate their monastery with 55 canvases of historical figures the great cloister. 27 represent the live of St. Bruno, 27 of martyrs.
He worked a great deal for the subsequent monarch, Philip IV, and his best pictures are those he executed for him as decorations in the Prado. Examples of his work are preserved at Toledo, Segovia, and several other Spanish cities. For many years he labored in Madrid as a teacher of his art, and among his pupils were Giovanni Ricci, Pedro Obregon, Vela,[disambiguation needed ] Francisco Collantes, and other distinguished representatives of the Spanish school during the 17th century.
He also authored a treatise, De las Excelencias de la Pintura or Dielogos de la pintura, su defensa, origen, essencia, definicien, modos, y differencias, published in 1633. Written in classical tradition as a dialogue between a master and an apprentice. Following strict piety of the Spanish realm,
Avram (Abram) Efimovich Arkhipov
Russian, 1862-1930 BUGIARDINI, Giuliano
Italian painter, Florentine school (b. 1475, Firenze, d. 1554, Firenze)
Italian painter and draughtsman. He trained in Florence in the workshop of Domenico Ghirlandaio. The influence of Ghirlandaio is apparent in his earliest known works, datable between c. 1495 and 1500, which include part of the altarpiece of the Nativity (Florence, Santa Croce) painted for the Castellani family. Apart from Ghirlandaio, his two most important early influences were Fra Bartolommeo and Mariotto Albertinelli. In 1503 Bugiardini joined the Compagnia di S Luca and began an association with Albertinelli that continued until 1509 when Albertinelli moved to the workshop of Fra Bartolommeo. Bugiardini's paintings of the Virgin and Child (e.g. c. 1510; Kansas City, MO, Nelson-Atkins Mus. A.) show the influence of the balanced classical compositions executed by Raphael in Florence between 1504 and 1508 (e.g. the Madonna of the Meadow, 1505, Vienna, Ksthist. Mus.; La Belle Jardini?re, 1507, Paris, Louvre). From Ghirlandaio's workshop and his study of antique sculpture in the Medici garden, Bugiardini would have known Michelangelo early in his career. Vasari mentioned Bugiardini as among the artists who went to Rome in 1508 to assist Michelangelo with the painting of the ceiling of the Sistine Chapel (Vatican) and who were almost immediately sent back to Florence. The influence of Franciabigio is clear in such works as the Birth of John the Baptist (1512; Stockholm U., Kstsaml.; autograph copy, Modena, Gal. & Mus. Estense) in which nature is not idealized, as compared to contemporary works in Rome. The signed and dated Madonna della palma (Virgin and Child with the Infant John the Baptist, 1520; Florence, Uffizi) suggests his familiarity with such contemporary Roman paintings by Raphael and his workshop as the Madonna of Divine Love (Naples, Capodimonte) or the Madonna of the Rose (c. 1518; Madrid, Prado).