Related Paintings of unknow artist :. | Arab or Arabic people and life. Orientalism oil paintings 38 | The Last Judgement | Teaching Buddha from Sarnath | Woman harvester | Still life floral, all kinds of reality flowers oil painting 50 |
Related Artists:
Giacomo Guardi
(1764-1835) was an Italian painter from Venice. The son of famous veduta painter Francesco Guardi, he continued his father's line of work, though without the same level of renown. The majority of his works are quite small views of only minor artistic interest, more akin to postcards than to his father's grand scenes, but he produced several paintings showcasing a notable level of artistic skill as well. Evaluating his legacy is somewhat complicated due to the frequency with which paintings are misattributed to him.
Baron Antoine-Jean Gros
1771-1835 French Baron Antoine-Jean Gros Galleries The son of a painter, Antoine Jean Gros was born in Paris on March 16, 1771. At the age of 14 he entered the studio of Jacques Louis David, the acknowledged leader of the classical revival. Although his own work became radically different from David's, he maintained a lifelong respect for his teacher and envisioned himself as the upholder of the Davidian tradition. In 1787 Gros entered the Acad??mie de Peinture, and when the Acad??mie dissolved in 1793 (a result of the French Revolution) he went to Italy. He met Josephine Bonaparte in Genoa in 1796, and she introduced him to Napoleonic society. Gros entered Napoleon's immediate entourage and accompanied him on several north Italian campaigns. Gros also became involved with Napoleon's program of confiscating Italian art for removal to France. Gros returned to Paris in 1800 and began to show his Napoleonic paintings in the annual Salons. The most famous of these are the Pesthouse at Jaffa (1804) and Napoleon at Eylau (1808). These works served to deify Napoleon, showing him engaged in acts of heroism and mercy. Stylistically, the paintings were revolutionary:their exotic settings, rich color, agitated space, and general penchant for showing the gruesome specifics of war and suffering differed radically from the cool generalizations of Davidian classicism that Gros had learned as a student. The presentation of contemporary historical events was also new, a harbinger of the realism that developed steadily during the first half of the 19th century in French, American, and English painting. Finally, the emphatic emotionalism of Gros's art established the foundation of romantic painting that Th??odore G??ricault and Eug??ne Delacroix developed after him. Unlike that of some of his countrymen (David is a case in point), Gros's position did not suffer after the fall of Napoleon. Gros painted for the restored monarchy, for instance, Louis XVIII Leaving the Tuileries (1817), and he decorated the dome of the Panth??on in Paris with scenes of French history (1814-1824). For this Charles X made him a baron in 1824. But these works lack the zest and commitment of Gros's Napoleonic period, perhaps because they were not based on the immediate kinds of historical experiences that had inspired the earlier paintings. Although marked by considerable public success, Gros's later career was in many ways acutely troubled. Basically, he could not resolve his personal esthetic theories with his own painting or with the work of his younger contemporaries. To the end Gros wished to propagate the classicism of David, and he took over David's studio when the master was exiled in 1816. By the 1820s, however, the revolutionary romanticism of G??ricault and Delacroix, among others, had clearly begun to eclipse classicism, and Gros found himself fighting a lonely and losing battle for conservatism. Ironically, he was fighting a trend that his own best work had helped to originate. As he persisted, moreover, his own painting began to show a diffident mixture of classic and romantic attitudes. Thus, while he was inherently a romantic, he tragically came to doubt himself. Gros died on June 26, 1835, apparently a suicide.
Jonathan Eastman Johnson
1824-1906 Jonathan Eastman Johnson Galleries Eastman Johnson (July 29, 1824 - April 5, 1906) was an American painter, and Co-Founder of the Metropolitan Museum of Art, New York City, with his name inscribed at its entrance. Best known for his genre paintings, paintings of scenes from everyday life, and his portraits both of everyday people, he also painted portraits of prominent Americans such as Abraham Lincoln, Nathaniel Hawthorne, Ralph Waldo Emerson, and Henry Wadsworth Longfellow. His later works often show the influence of the 17th century Dutch masters whom he studied while living in The Hague, and he was even known as The American Rembrandt in his day. Johnson's style is largely realistic in both subject matter and in execution. His original photorealistic charcoal sketches were not strongly influenced by period artists, but are informed more by his lithography training. Later works show influence by the 17th century Dutch and Flemish masters, and also by Jean François Millet. Echoes of Millet's The Gleaners can be seen in Johnson's The Cranberry Harvest, Island of Nantucket although the emotional tone of the work is far different. His careful portrayal of individuals rather than stereotypes enhances the realism of his paintings. Ojibwe artist Carl Gawboy notes that the faces in the 1857 portraits of Ojibwe people by Johnson are recognizable in people in the Ojibwe community today. Some of his paintings such as Ojibwe Wigwam at Grand Portage display near photorealism long before the photorealism movement but in keeping with the American tradition of realism that can be seen in the works of Charles Willson Peale whose painting The Stairway Group is said to have fooled George Washington. His careful attention to light sources contributes to the realism. Portraits Girl and Pets and The Boy Lincoln make use of single light sources in a manner that echoes the 17th Century Dutch Masters.