Related Paintings of unknow artist :. | oskar | Eland,storst among antiloper,stoisk,oxlikt massive | Gustav Vasa prime | Antiquae urbis splendor | Starry-eyed Landscape with Granada |
Related Artists:
Miguel Cabrera
(1695-1768) was an indigenous Zapotec painter during the Viceroyalty of New Spain, today's Mexico. During his lifetime, he was recognized as the greatest painter in all of New Spain. He was born in Antequera, today's Oaxaca, Oaxaca, and moved to Mexico City in 1719. He may have studied under the Rodreguez Juerez brothers or Jose de Ibarra. Cabrera was a favorite painter of the Archbishop and of the Jesuit order, which earned him many commissions. His work was influenced by Bartolome Esteban Murillo and the French painting of his time. While Miguel is most famous for his Casta paintings and his portrait of the poet Sor Juana, he also executed one of the first portraits of St. Juan Diego. In 1752 he was permitted access to the icon of Our Lady of Guadalupe to make three copies: one for Archbishop Jose Manuel Rubio y Salinas, one for the Pope, and a third to use as a model for further copies. In 1756 he created an important early study of the icon of Our Lady of Guadalupe, Maravilla americana y conjunto de raras maravillas observadas con la direccien de las reglas del arte de la pintura The essential purpose of Maravilla Americana was to affirm the 1666 opinions of the witnesses who swore that the image of the Virgin was of a miraculous nature. However, he also elaborated a novel opinion: the image was crafted with a unique variety of techniques. He contended that the Virgin's face and hands were painted in oil paint, while her tunic, mandorla, and the cherub at her feet were all painted in egg tempera. Finally, her mantle was executed in gouache. He observed that the golden rays emanating from the Virgin seemed to be of dust that was woven into the very fabric of the canvas, which he asserted was of "a coarse weave of certain threads which we vulgarly call pita," a cloth woven from palm fibers. In 1753, he founded the second Academy of Painting in Mexico City and served as its director.
Hans Holbein
German 1497-1543 Hans Holbein Galleries Holbein always made highly detailed pencil drawings of his portrait subjects, often supplemented with ink and colored chalk. The drawings emphasize facial detail and usually did not include the hands; clothing was only indicated schematically. The outlines of these drawings were then transferred onto the support for the final painting using tiny holes in the paper through which powdered charcoal was transmitted; in later years Holbein used a kind of carbon paper. The final paintings thus had the same scale as the original drawings. Although the drawings were made as studies for paintings, they stand on their own as independent, finely wrought works of art. How many portraits have been lost can be seen from Holbein's book (nearly all pages in the Royal Collection) containing preparatory drawings for portraits - of eighty-five drawings, only a handful have surviving Holbein paintings, though often copies have survived. David Hockney has speculated in the Hockney-Falco thesis that Holbein used a concave mirror to project an image of the subject onto the drawing surface. The image was then traced. However this thesis has not met with general acceptance from art historians. A subtle ability to render character may be noted in Holbein's work, as can be seen in his portraits of Thomas Cromwell, Desiderius Erasmus, and Henry VIII. The end results are convincing as definitive images of the subjects' appearance and personality.
John Cecil Clay
Illustrator and genre, caricature painter American 1875-1930 American illustrator known for genre and caricature paintings. Clay was born in Ronceverte, West Virginia to an long-time Southern family. He was a student of Henry Siddons Mowbray at the Art Students League of New York and had a graphic style that was suited to illustration. A reoccurring subject was pretty young women. During his life he worked for Life and Frank Leslie's Popular Monthly. He was a member of Society of Illustrators and was represented at the St. Louis Exposition-World's Fair 1904. Apart from the above mentioned magazines he also worked as an illustrator for The Century Magazine, Saturday Evening Post and Good Housekeeping.