Related Paintings of unknow artist :. | Portrait of Stanislaw Kostka Potocki | Ingeborg Psalter before | johan pasche | det svenska skedet | European city landscape, street landsacpe, construction, frontstore, building and architecture. 178 |
Related Artists:
John Martin
British 1789-1854 John Martin Gallery His first exhibited subject picture, Sadak in Search of the Waters of Oblivion (now in the St. Louis Art Museum), was hung in the Ante-room of the Royal Academy in 1812, and sold for fifty guineas. It was followed by the Expulsion (1813), Paradise (1813), Clytie (1814), and Joshua Commanding the Sun to Stand Still upon Gibeon (1816). In 1821 appeared his Belshazzar's Feast, which excited much favorable and hostile comment, and was awarded a prize of £200 at the British Institution, where the Joshua had previously carried off a premium of £100. Then came the Destruction of Herculaneum (1822), the Creation (1824), the Eve of the Deluge (1841), and a series of other Biblical and imaginative subjects. The Plains of Heaven is thought to reflect his memories of the Allendale of his youth. Martin's large paintings were inspired by "contemporary dioramas or panoramas, popular entertainments in which large painted cloths were displayed, and animated by the skilful use of artificial light. Martin has often been claimed as a forerunner of the epic cinema, and there is no doubt that the pioneer director D. W. Griffith was aware of his work." In turn, the diorama makers borrowed Martin's work, to the point of plagiarism. A 2000-square-foot version of Belshazzar's Feast was mounted at a facility called the British Diorama in 1833; Martin tried, but failed, to shut down the display with a court order. Another diorama of the same picture was staged in New York City in 1835. These dioramas were tremendous successes with their audiences, but wounded Martin's reputation in the serious art world.
Frans van mieris the elder
Dutch Baroque Era Painter, 1635-1681 was a Dutch genre and portrait painter. The leading member of a Leiden family of painters, his sons Jan (1660-1690) and Willem (1662 C1747) and his grandson Frans van Mieris the Younger (1689 C1763) were also accomplished genre painters. Frans was the son of Jan Bastiaans van Mieris, a goldsmith, carver of rubies and diamond setter at Leiden. His father wished to train him to his own business, but Frans preferred drawing, and took service with Abraham Torenvliet, a glazier who kept a school of design. In his father's shop he became familiar with the ways and dress of people of distinction. His eye was fascinated in turn by the sheen of jewelry and stained glass; and, though he soon gave up the teaching of Torenvliet for that of Gerard Dou and Abraham van den Tempel, he acquired a manner which had more of the finish of the exquisites of the Dutch school than of the breadth of the disciples of Rembrandt. It should be borne in mind that he seldom chose panels of which the size exceeded 12 to 15 inches, and whenever his name is attached to a picture above that size we may surely assign it to his son Willem or to some other imitator. Unlike Dou when he first left Rembrandt, or Jan Steen when he started on an independent career, Mieris never ventured to design figures as large as life. Characteristic of his art in its minute proportions is a shiny brightness and metallic polish. The Music Lesson,National Museum of Serbia , BelgradeThe subjects which he treated best are those in which he illustrated the habits or actions of the wealthier classes; but he sometimes succeeded in homely incidents and in portrait, and not unfrequently he ventured on allegory. He repeatedly painted the satin skirt which Ter Borch brought into fashion, and he often rivalled Ter Borch in the faithful rendering of rich and highly-coloured woven tissues. But he remained below Ter Borch and Metsu, because he had not their delicate perception of harmony or their charming mellowness of touch and tint, and he fell behind Gerard Dou, because he was hard and had not his feeling for effect by concentrated light and shade. In the form of his composition, which sometimes represents the framework of a window enlivened with greenery, and adorned with bas-reliefs within which figures are seen to the waist, his model is certainly Dou.
natalia goncharova
natalia goncharova(1881 to 1962),Russian painter, stage designer, printmaker and illustrator. She was a leading artist of the Russian avant-garde in the early 20th century but became a celebrity in the West through her work for SERGE DIAGHILEV and the BALLETS RUSSES. During the 1920s she played a significant role within the Ecole de Paris and continued to live and work in France until her death.