Related Paintings of unknow artist :. | Arab or Arabic people and life. Orientalism oil paintings 349 | Attrapelasouris | Air light and water | Portrait of Albrecht Sigismund von Bayern | Nest of Rattlesnakes |
Related Artists:
Mosler, Henry
American Painter, 1841-1920 United States artist, was born in New York, the family removing to Cincinnati when he was about ten years old. Studying drawing by himself, he became a draughtsman for a comic paper, the Omnibus (Cincinnati), in 1855; in 1859-1861 he studied under James Henry Beard, and in 1862-63, during the Civil War, was an art correspondent of Harper's Weekly. In 1863 he went to Desseldorf, where for almost three years he was at the Royal Academy schools; he subsequently went to Paris, where he studied for a short time under Ernest Hebert. His "Le Retour," from the Paris Salon of 1879, was the first American picture ever bought for the Luxembourg. He received a silver medal in Paris 1889, and gold medals at Paris, 1888, and Vienna, 1893.
Raimundo Madrazo
(1841, Rome - 1920) was a Spanish realist painter. He studied painting under his father, Federico de Madrazo, and at the School of the Beaux Arts in Madrid. After 1860 he lived mostly in Paris, where he studied under L??on Cogniet. His remarkable technical ability made him a highly successful portrait painter in a Salon style.
BECCAFUMI, Domenico
Italian Mannerist Painter, ca.1486-1551 Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist.[1] In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school. There are medieval eccentricities, sometimes phantasmagoric, superfluous emotional detail and a misty non-linear, often jagged quality to his drawings, with primal tonality to his coloration that separates him from the classic Roman masters.