Related Paintings of unknow artist :. | Epitaph over parsons Bengal Tyneson and his famij | Playing | Virgin and Child. | Two Apostles | Seascape, boats, ships and warships.59 |
Related Artists:
Giovanni Stanchi
Italian, 1608-died after 1673
Serhii Vasylkivsky
(October 19, 1854, Izium e October 7, 1917, Kharkiv) was one of the most prolific Ukrainian artists of the pre-revolutionary period and an expert on Ukrainian ornamentation and folk art. Vasylkivsky grew up in an environment conducive to his development as an artist. He was born and spent his childhood in the picturesque surroundings of Izium, a city in the historical region of Sloboda Ukraine, and today's Kharkiv Oblast. The future painter had a chumak grandfather whose roots reached cossack ancestral lines. Vasylkivsky's father was a writer and taught his son the aesthetics of proper calligraphy. His mother, through her folk songs set the foundation which provided the inspiration for Vasylkivsky's art later in life. When he was seven years old, his parents moved to Kharkiv, which at the time was a significant cultural center of Sloboda Ukraine. Vasylkivsky's first art lessons were given at the Kharkiv gymnasium by Dmytro Bezperchy, a student of Karl Briullov. During the years of his study, Vasylkivsky was able to use the extensive book collection of his relative and poet, V. Alexandrov. Among these were the works by Ivan Kotlyarevsky, Taras Shevchenko, and Nikolai Gogol, which made a strong impression on the young artist. After five years of education at the gymnasium and at the demand of his father, Vasylkivsky began studies at the Kharkiv Veterinary School. This lasted until 1873, when Vasylkivsky left veterinary studies due to his parents inability to pay for tuition. For a while, he worked as a civil servant in Kharkiv.
MEI, Bernardino
Italian painter, Roman school (b. 1612, Siena, d. 1676, Roma) Italian painter, draughtsman and printmaker. His early art drew on a variety of sources, which included the naturalism of Rutilio Manetti and Francesco Rustici, the descriptive realism of the engraver Giuliano Periccioli (d 1646) and the Baroque of Raffaelle Vanni. Mei's interests even embraced 16th-century Sienese art. This stylistic variety is evident in his first known works, such as a bier (Casole d'Elsa, Collegiata), three signed miniatures in the Libro dei leoni (1634; Siena, Pal. Piccolomini, Archv Stato) and frescoes of scenes from the Life of St Bernard (1639; Siena, oratory of S Bernardino). His experimental approach is also displayed in such works as the Annunciation (Siena, Mus. Semin. Montarioso), which may be dated between the mid-1630s and the early 1640s. Mei's early maturity is marked by a conscious return to the naturalism of Manetti, enriched with a Baroque pathos and soft, fluid brushwork, as in the St Peter in Prison Awoken by the Angel and St Peter Freed by the Angel (both Siena; Conservatori Femminili Riuniti). His interest in both naturalism and the Baroque made him responsive to the art of Mattia Preti, possibly seen in Rome, as in the Beheading of St John the Baptist (1647; Siena, oratory of S Giovannino in Pantaneto) and the frescoes of scenes from the Life of St Roch and Life of St Job (1648; Siena, S Rocco),