Pubblicato il 31/08/15 ed aggiornato il

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Ferdinando Vichi | Group of Putti Musicians

Like many other late nineteenth-century sculptors, Ferdinando Vichi (1875-1945) often took inspiration from Romantic and Tender subjects. His compositions are varied in subject matter, ranging from Romantic busts, women and children to orientalist themes and Renaissance-inspired models.

Pubblicato il 30/08/15 ed aggiornato il

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Pio Fedi | Love story of Dionora and Ippolito

Pio Fedi - Dionora de Bardi and Ippolito Buondelmonti
In the present sculpture, Pio Fedi (1816-1892) presents us with an image of the courtship of Dianora. Ippolito's gently persuasive gesture conveys his intense and immediate affection for Dianora, whilst her apparent reticence highlights the agonistic relationship between their two families and the difficulties associated with their union. Pio Fedi's training as a goldsmith and engraver is evident in the virtuoso carving of the rich fabrics and differing surfaces. The intricacy of the carving, together with the small scale of the group, lends to it a precious, jewel-like quality. The signature compares closely with that of Pio Fedi's Il sospetto in the Ashmoleon, also dated 1872, and which, according to Nicholas Penny, may have been sculpted as a special piece by Pio Fedi himself.
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Ignacio Zuloaga - Madame Souty Reclining on a Sofa, 1921

Ignacio Zuloaga y Zabaleta (1870-1945), Spanish genre and portrait painter noted for his theatrical paintings of figures from Spanish culture and folklore.
For biographical notes -in english and italian- and works by Zuloaga see Ignacio Zuloaga | Genre/Realist painter.

Pubblicato il 29/08/15 ed aggiornato il

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Friedrich Nerly | Seascape painter

Friedrich Nerly or Federico Nehrlich (October 26, 1842 - 1919) was an Italian painter who specialized in Seascapes. Nerly was of Prussian nationality. He completed his first studies with his father, a well known Landscape artist.
He later enrolled in the Academy of Fine Arts of Venice, studying under professors Eugene de Blaas, Federico Moja and Pompeo Mariano Molmenti. From 1862-65 and in 1866, he served in the army. He visited the principal artistic cities of Germany: Düsseldorf, Weimar, Munich, and Dresden. In 1868, he traveled to Francia, Austria, Dalmatia, and Montenegro, and visited Rome, Naples and Sicily.
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Antoine Bouvard | A Venetian Scene

Antoine Bouvard Senior, also known as Marc Aldine (1870–1956) painted Venetian scenes and exhibited his works in Paris and Venice. He was born at St. Jean-de-Bournay in L'Isere in 1870. He trained as an architect and studied art and architecture under Constant-Dufeus, at the Ecole des Beaux-Arts in Paris.
He became the Director of Architectural Services for the Seine, and was responsible for the construction of the Bourse du Travail and the Boulevard Morland in Paris. His paintings show the influence of Felix Ziem, reflecting his love of Venice in the delicacy and fluidity of his use of colour, capturing in his paintings, the warmth and beauty that he found there.

Pubblicato il 28/08/15 ed aggiornato il

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Giovanni Battista Lombardi | Ruth, 1864

Commissioned in 1859 by contessa Marietta Mazuchelli Longo, Lombardi's Ruth was the first of the artist's Old Testament subjects; a series which also included his Rebecca, Deborah, Susanna and Sulamite. Lombardi's reputation had been built on his sensitive and innovative memorial sculpture, which he produced with his brother Giovita, in the studio in Rome which they set up in 1852. The contessa Longo was a long-time supporter of Lombardi and indeed had previously commissioned a funerary monument to her deceased husband from the artist.
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Ron Monsma | Figurative/Baroque style painter

"Whether I am painting a still life or figure (or landscape) light plays an important role. I work in the Baroque tradition where light reveals and distills form and all its nuances. This is stage lighting where illumination exposes a mood, a setting or situation or some event about which we are not quite certain. It is light that invites the viewer to make discoveries in the shadows” - Ron Monsma, Associate Professor of Fine Arts.

Pubblicato il 27/08/15 ed aggiornato il

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Benvenuto Cellini | Baroque / Mannerist style sculptor

Benvenuto Cellini, (born Nov. 1, 1500, Florence-died Feb. 13, 1571, Florence), Florentine sculptor, goldsmith, and writer, one of the most important Mannerist artists and, because of the lively account of himself and his period in his autobiography, one of the most picturesque figures of the Renaissance.
  • Early career
Cellini, resisting the efforts of his father to train him as a musician, was apprenticed as a metalworker in the studio of the Florentine goldsmith Andrea di Sandro Marcone. Banished to Siena as a result of a brawl in 1516, he returned to Florence during 1517-19 and then moved to Rome.

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Ferdinando Vichi ~ Masquerade, c.1900 | La Belle Époque

Italian Sculptor Ferdinando Vichi (1875-1945) was one of the talented band of Tuscan sculptors associated with the Bazzanti gallery in Florence. His work in marble and alabaster demonstrates his high technical ability.
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Lorenzo Bartolini ~ Dircé, 1834 | Musée du Louvre, Parigi

Dircé. Marble, done in 1824-1834 for the duke of Devonshire.
Ingres Jean-Auguste-Dominique (1780-1867)
Portrait of Lorenzo Bartolini, Musée du Louvre
Dircé (/ˈdɜrsiː/; Ancient Greek: Δίρκη, pronounced Dirke, modern Greek pronunciation Dirki, meaning "double" or "cleft") was the wife of Lycus in Greek mythology, and aunt to Antiope whom Zeus impregnated. Antiope fled in shame to King Epopeus of Sicyon, but was brought back by Lycus through force, giving birth to the twins Amphion and Zethus on the way. Dirce hated Antiope and treated her cruelly after Lycus gave Antiope to her; until Antiope, in time, escaped.

Pubblicato il 26/08/15 ed aggiornato il

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Edward McCartan | Figurative/Art Déco style sculptor

Edward Francis McCartan (August 16, 1879 - September 20, 1947) was an American sculptor, best known for his decorative bronzes done in an elegant style popular in the 1920s.
Born in Albany, New York, he studied at the Pratt Institute, with Herbert Adams. He also studied at the Art Students League of New York with George Grey Barnard and Hermon Atkins MacNeil, and then in Paris for three years under Jean Antoine Injalbert before his return to the United States in 1910.

Pubblicato il 25/08/15 ed aggiornato il

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Edward McCartan | Dream Lady, 1922, Lincoln Park

Eugene Field
"Dream Lady", also known as the Eugene Field Memorial, is a bronze sculpture by Edward Francis McCartan (August 16, 1879 - September 20, 1947).
It is located in Lincoln Park, Chicago.
Eugene Field (1850-1895) was an author and journalist, and wrote a humor column, "Sharps and Flats", for the Chicago Daily News. He was also well known as an author of poems for children.
The memorial cost $35,000, and was funded by public school children, citizens of Chicago and the B. F. Ferguson Monument Fund. It was dedicated on October 9, 1922.
Erected in 1922 by school children and citizens aided by the Benj. F. Ferguson Fund unsigned | From Wikipedia, the free Encyclopedia.
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Edward McCartan | Isoult, 1926

Edward Francis McCartan (August 16, 1879 - September 20, 1947) sculptor, was born in Albany, New York, the son of Michael McCartan, an Irish immigrant merchant of limited means, and Anna Hyland. McCartan began to draw instinctively at age five or six and by age ten had modeled a lion in clay. In his teens he entered Pratt Institute in Brooklyn, New York, and studied with Herbert Adams.
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Ettore Forti | Genre painter

Edoardo Ettore Forti (1850-1940) was an Italian painter, active late 19th century - early 20th century.
Very little is known about the life of Ettore Forti. He painted genre scenes and history paintings in Rome in the late 1800s and early 1900s in a realistic style similar to that of Sir Lawrence Alma-Tadema. He concentrated on ancient Roman subjects, which were rarely based on actual historical events.

Pubblicato il 24/08/15 ed aggiornato il

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Donatello | The bronze David, 1440

David is the title of two statues of the biblical hero by the Italian early Renaissance* sculptor Donatello*, an early work in marble of a clothed figure (1408-09)*, and a far more famous bronze figure that is nude between its helmet and boots, and dates to the 1430s or later. Both are now in the Museo Nazionale del Bargello in Florence.

Pubblicato il 23/08/15 ed aggiornato il

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Benvenuto Cellini | Saliera or Salt Cellar, 1540-1543

The Cellini Salt Cellar (in Vienna called the Saliera, Italian for salt cellar) is a part-enamelled gold table sculpture by Benvenuto Cellini. It was completed in 1543 for Francis I of France, from models that had been prepared many years earlier for Cardinal Ippolito d'Este. The Cellini Salt Cellar depicts a male figure representing the sea and a female figure that represents the earth. A small vessel meant to hold salt is placed next to the male figure. A temple-shaped box for pepper is placed next to the female figure.

Pubblicato il 22/08/15 ed aggiornato il

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Francesco Primaticcio | Ulysses and Penelope, 1563

Francesco Primaticcio, also called Bologna, Le Primatice, or Primadizzi (born April 30, 1504, Bologna, Emilia [Italy]-died 1570, Paris, France), Italian Mannerist painter, architect, sculptor and leader of the first school of Fontainebleau.
Primaticcio was first trained as an artist in Bologna, under Innocenzo da Imola and later Bagnacavallo. He also studied with Giulio Romano and assisted him in his work on the decorations of the Palazzo del Te in Mantua. When the French king Francis I invited Romano to assist in the redecoration of the Fontainebleau Palace in 1532, Romano sent Primaticcio in his place, and, once there, Primaticcio became one of the principal artists in France. He would remain an artist at Fontainebleau for the rest of his life.
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Daniele da Volterra - Unfinished portrait of Michelangelo, c 1544 | Metropolitan Museum of Art

Artist: Daniele da Volterra (Daniele Ricciarelli) (Italian painter, Volterra 1509–1566 Rome)
Date: probably ca. 1544
Medium: Oil on wood
Dimensions: 34 3/4 x 25 1/4 in. (88.3 x 64.1 cm)
Classification: Paintings
Credit Line: Gift of Clarence Dillon, 1977
Accession Number: 1977.384.1
When this work was first published in the nineteenth century it was considered a self-portrait by Michelangelo (De Romanis 1823), an attribution that persisted into the twentieth century, although Gaetano Milanesi (1882) and others (Knapp 1912, Garnault 1913) ascribed it to Francesco Salviati (1510-1563). Gaetano Guasti (1893) was the first to identify it with a portrait of Michelangelo by Jacopino del Conte (1515-1598) mentioned by Giorgio Vasari in his Lives of the Artists (1568, p. 258), and this association was taken up by most later scholars. Recently, however, Andrea Donati (2010) has convincingly attributed the painting to Daniele da Volterra, dating it 1544.
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Daniele da Volterra | Mannerist style painter and sculptor

Daniele da Volterra - Presentation of the Virgin
Daniele Ricciarelli da Volterra (1509-1566) was born in Volterra, a town in Tuscany, the painter and sculpture became known as Daniele da Volterra. He was a mannerist artist best remembered for his work in connection to Michelangelo (1475-1564). Before befriending Michelangelo, Volterra studied in Siena with Giovanna Antonio Bazzi, called Il Sodoma (1477-1549) and Baldassare Peruzzi (1481-1537), and then with Piero Buonaccorsi, called Perin del Vaga (1501-1547). During this time he helped to complete works in the Palazzo Massimo alle Colonne in Rome, as well as in the Trinitá dei Monti and the San Marcello al Corso.
Volterra’s commission for the Orsini Chapel in the Trinitá dei Monti, were frescos he did based on drawings by Michelangelo.

Pubblicato il 21/08/15 ed aggiornato il

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Pierre-Gérard Langlois | Abstract painter

Born in 1940 and died young, at fifty four years, in 1994, Pierre-Gérard Langlois was an French painter and lithographer. He signed some of his work the pseudonym G. Duroc.
He graduated from the Modern Arts School of Paris, then he attended the Academy of Beaux-Arts at Rouen and followed courses at the Ecole du Louvre. He had his first personal exhibition in 1965, in Paris at the Champs Elysées Théatre.
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Rembrandt | Musical Company, 1626

Allegory of Music - The Music Party, 1626.
Rembrandt Harmenszoon van Rijn (Dutch painter, 1606-1669).
Rijksmuseum, Amsterdam.
To the left a man in oriental dress and a turban is playing the viol. Right beside him a man plays the harp. A young woman is sitting next to a table with an opened song book on her lap while singing. Behind her an older woman with headscarf watches on. Scattered on the floor are musical instruments (a lute, a violin) and piles of books. On the wall a painting showing Lot Fleeing Sodom can be seen.

Pubblicato il 20/08/15 ed aggiornato il

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Rubens and Brueghel ~ The Five Senses Allegory | Art workshops

Peter Paul Rubens and Jan Bruegel the Elder
- Allegory of Sight, 1617 - Museo del Prado
The "Five Senses" is a set of Allegorical paintings created at Antwerp in 1617-1618 by two Flemish masters Jan Brueghel the Elder (Dutch painter, 1568-1625) and Peter Paul Rubens (Dutch painter 1577-1640), with Brueghel being responsible for the settings and Rubens for the figures.
They are now in the Prado Museum in Madrid.
They are all painted in oils on wood panel, approximately 65 by 110 centimetres (2 ft 2 in × 3 ft 7 in) in dimensions.
The series constitutes one of the best known and most successful collaborations by Brueghel and Rubens, who were close friends.
Sir Peter Paul Rubens - Self-Portrait 1623

Pubblicato il 19/08/15 ed aggiornato il

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Thomas Sully | Portrait painter

Thomas Sully (1783-1872) was born in 1783 in Horncastle, Lincolnshire, England, the youngest son of nine children born to the actors Matthew and Sarah Chester Sully. At the suggestion of his father's brother-in-law, a theater manager in Virginia and South Carolina, the Sullys emigrated to the United States in 1792. Sully attended school in New York until his mother's death in 1794, when he returned to live with his family in Richmond. From there they moved to Charleston, South Carolina, where the future artist performed on the stage with his parents and siblings.
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Thomas Sully | Mother and Child, 1827

Thomas Sully (June 19, 1783 – November 5, 1872) was an American portrait painter, who was born in Britain but lived most of his life in Philadelphia.
For biographical notes and works by Sully see Thomas Sully | Portrait painter.  
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Cornelis de Vos | Mother and child, 1624

Cornelis de Vos (1584-1651) was born into a Catholic family in Hulst, near the border between Holland and Flanders. This area was hotly disputed during the Eighty Years War (1568–1648) and in 1596 the De Vos family moved to Antwerp, confirming their Flemish rather than Dutch heritage. Soon after, Cornelis became an assistant in the workshop of the Antwerp artist David Remeeus, securing the young man’s place in the Flemish artistic tradition.
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Follower of Jan van Scorel | A Man with a Pansy and a Skull, 1535

Probably painted around 1535 in the Northern Netherlands. The pansy symbolises thought (from the French 'pensée') and the skull is probably intended as a memento mori (a symbol of human frailty and reminder of death).

Pubblicato il 18/08/15 ed aggiornato il

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Wonders of the Antique World/Le Meraviglie del mondo antico, 1572

Colossus of Rhodes
Maarten van Heemskerck (1498-1574) produced designs for a set of engravings, showing eight, rather than the usual seven wonders of the ancient world. His addition to the conventional list was the Colosseum in Rome, which, unlike the others, he showed in ruins, as it was in his own time, with the speculative addition of a giant statue of Jupiter in the centre. They were engraved by Philip Galle and published in 1572.
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Maarten van Heemskerck | Mannerist painter

Maarten van Heemskerck Self-portrait in Rome, 1553
Maarten van Heemskerck (born 1498, Heemskerck, Holland-died 1574, Haarlem), one of the leading Mannerist painters in 16th-century Holland working in the Italianate manner.
He spent a period (c. 1528) in the Haarlem studio of Jan van Scorel, then lately returned from Italy. Van Heemskerck’s earliest works—“Ecce Homo” (Musée des Beaux-Arts, Ghent) and “St. Luke Painting the Portrait of the Virgin” (Frans Halsmuseum, Haarlem), both dated 1532—while adhering closely to the Romanist style of Scorel, seek to outdo it by dramatic lighting and illusionistic effects of plasticity.

Pubblicato il 17/08/15 ed aggiornato il

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Maarten van Heemskerck | Portrait of Machtelt Suijs, c.1540-1545

Dutch Mannerist painter Maarten van Heemskerck (1498-1574) lived in Rome for four years (1532-36) and was deeply affected by the city's art and antiquities.
Here, the half-length, seated figure, the tense yet elegant hands, and even the grotesque classical mask reflect the impact of that experience, while the love of meticulously represented textures is traditionally associated with northern European art.
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Agnolo Bronzino | Descent of Christ into Limbo, 1552

Agnolo Bronzino of Florence, Italy, known as Il Bronzino, was a Mannerist painter. Mixing styles of the late High Renaissance into the early Baroque period, Mannerists often depicted their subjects in unnatural forms. Bronzino’s works have been described as “icy” portraits that put an abyss between the subject and the viewer.
For biographical notes and complete works by Bronzino see Agnolo Bronzino ~ Mannerist painter.

Pubblicato il 16/08/15 ed aggiornato il

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Pieter de Hooch | Baroque Era painter

Pieter de Hooch, Hooch also spelled Hoogh or Hooghe (baptized Dec. 20, 1629, Rotterdam, Neth-buried March 24, 1684, Amsterdam), Dutch genre painter of the Delft school, noted for his interior scenes and masterful use of light.
De Hooch was a pupil of Claes Berchem at Haarlem. From 1653 he was in the service of Justus de Grange and lived in Delft, The Hague, and Leiden. He was a member of the painters’ guild of Delft from 1654-1657, but after that date there are no traces of his career until about 1667, when his presence was recorded in Amsterdam.
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