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Levey, Michael (1980). Painting in Eighteenth-Century Venice (Second ed.). Oxford: Phaidon. |
Links, J. G. (1977). Canaletto and his Patrons. London: Paul Elek. pp. 55–56. |
Martineau, Jane, and Robison, Andrew, The Glory of Venice: Art in the Eighteenth Century, 1994, Yale University Press/Royal Academy of Arts, ISBN 0300061862 (Catalogue for exhibition in London and Washington) |
Mauroner, Fabio (April 1940). "Michiel Marieschi with Catalogue of the Etchings". The Print Collector's Quarterly. 27 (2): 179. |
Wittkower, Rudolf (1993). Art and Architecture Italy, 1600-1750. Penguin Books. p. 501. |
External links |
Media related to Michele Marieschi at Wikimedia Commons |
www.artistarchive.com A catalogue of the 21 plates from Magnificentiores Selectioresque Urbis Venetiarum Prospectus. |
Canaletto, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Marieschi |
Michele Pace del Campidoglio (1625-1669) was an Italian painter of still-life depicting fruit and flowers. |
Biography |
Pace del Campidoglio was born in Rome or Vitorchiano in 1625. He was called 'Di Campidoglio' from an office he held in the Campidoglio, or Capitol, at Rome. There was a fine picture by him in the collection of John Churchill, 1st Duke of Marlborough at Blenheim, and many others are to be found in England. He died in 16... |
References |
Attribution: |
This article incorporates text from a publication now in the public domain: Bryan, Michael (1889). "Pace, Michelangelo, called Di Campidoglio". In Armstrong, Sir Walter; Graves, Robert Edmund (eds.). Bryan's Dictionary of Painters and Engravers (L–Z). Vol. II (3rd ed.). London: George Bell & Sons. |
Mihály Munkácsy (20 February 1844 – 1 May 1900) was a Hungarian painter. He earned international reputation with his genre pictures and large-scale biblical paintings. |
Early years |
Munkácsy was born as Mihály Leó Lieb (Hungarian: Lieb Mihály Leó) to Mihály Lieb, an bureaucrat of Bavarian origin, and Cecília Reök, in Munkács, Hungary, Austrian Empire, the town from which he later adopted his pseudonym. |
After being apprenticed to itinerant painter Elek Szamossy, Munkácsy went to Pest, the largest city in Hungary (now part of Budapest), where he sought the patronage of established artists. |
With the help of the landscape artist Antal Ligeti, he received a state grant to study abroad. In 1865, he studied at the Academy of Vienna under Karl Rahl. In 1866, he studied at the Munich Academy, and in 1868 he moved to the Kunstakademie Düsseldorf to study with the popular genre painter Ludwig Knaus. In 1867, he t... |
After his Paris trip, his style became lighter, with broader brushstrokes and tonal colour schemes - he was probably influenced by modern French painting seen at the Exposition. |
In his early career Munkácsy painted mainly scenes from the daily lives of peasants and poor people. First he followed the colourful, theatrical style of contemporary Hungarian genre painters (e. g. Károly Lotz, János Jankó), for example in The Cauldron (1864) or Easter Merrymaking (1865). In the next years he paid mor... |
The Last Day of a Condemned Man |
In 1869, Munkácsy painted his much acclaimed work The Last Day of a Condemned Man, considered his first masterpiece. The picture was rewarded with the Gold Medal of the Paris Salon in 1870. It made Munkácsy a popular painter in an instant. It suggests torture caused by oppression, moral uncertainty and reactions to an ... |
Munkácsy, together with his friend, the landscapist László Paál, moved to Paris, where he lived until the end of his life. He continued to paint genre pictures like Making Lint (1871) and Woman Gathering Brushwood (1873). The zenith of his career was between 1873 and 1875, when he painted Midnight Ramblers, Farewell, ... |
In the late 1870s he also worked in Barbizon, together with Paál, and painted fresh, richly coloured landscapes, such as Dusty Road, Corn Field, and Walking in the Woods. The assimilation of László Paál's style is apparent in the landscapes painted during the 1880s, such as Avenue and The Colpach Park. His realist port... |
In 1878, he painted a historical genre picture, The Blind Milton Dictating Paradise Lost to his Daughters, which marked a new milestone in his oeuvre. It is set in a richly furnished room. The picture was bought (and successfully sold) by Austrian-born art dealer Charles Sedelmeyer, who offered Munkácsy a ten-year cont... |
Trilogy |
Sedelmeyer wanted Munkácsy to paint large-scale pictures which could be exhibited on their own. They decided that a subject taken from the Bible would be most suitable. In 1882 Munkácsy painted Christ in front of Pilate, followed by Golgotha in 1884. The trilogy was completed with Ecce Homo in 1896. |
Sedelmeyer took these three huge paintings on tour across Europe and the United States. The first two were purchased by US department store magnate John Wanamaker. After Wanamaker's death they were exhibited in the Grand Court of his Philadelphia store every Easter, with special Lenten music programs often arranged aro... |
Munkácsy did not abandon genre painting, but his settings changed. In the 1880s he painted many salon pictures, set in lavishly furnished homes of rich people. His most often depicted subjects were motherhood (Baby's Visitors, 1879), the happy moments of domestic life (The Father's Birthday, 1882), children and animals... |
Last phase: 1887–1896 |
Towards the end of his career he painted two monumental works: Hungarian Conquest for the House of Parliament, and a fresco, Apotheosis of Renaissance, for the ceiling of Kunsthistoriches Museum in Vienna. |
He was commissioned to paint the large ceiling painting of the Kunsthistorisches Museum in Vienna. The work, completed in 1888, was titled Glorification of the Renaissance. |
Although Munkácsy, who was very conscious about earthly comfort and social prestige, became a celebrity, he was always unsure and always questioning his own talent. By the 1890s, his depression grew into a severe mental illness which was probably intensified by the syphilis which he contracted in his youth. His last pi... |
Towards the end of his life when disease was demanding more and more of his energy and finally darkness descended on his mind, he completed two pictures involving several figures. In one of them, Strike (1896), he illustrated the subject of the picture, rather unusual at his time, in a new style of character portrayal ... |
Death |
In the summer of 1896 Munkácsy's health sharply declined. After treatment in Baden-Baden, he retired to Colpach and Paris. Later he was taken to a mental hospital at Endenich near Bonn. He collapsed and died there on 1 May 1900. On 9 May he was buried in the Kerepesi Cemetery, Budapest. |
Legacy |
Neither 19th century visual art nor the historical developments of Hungarian art can be discussed without considering Munkácsy's contributions. His works are considered the apogee of national painting. He was a standard-setter, an oeuvre of reference value. He was one of the few with whom the antiquated colour techniqu... |
In 2005, the Hungarian National Gallery organized in Budapest the first ever comprehensive exhibition of Munkácsy's paintings scattered throughout the world. As many as 120 pieces were borrowed from different institutions, museums and private collections. The exhibition catalogue published on the occasion, entitled Mun... |
Mihály Munkácsy is honored by Hungary by issuing a postage stamps: on 1 July 1932 which bears his portrait; on 18 March 1977 his painting “Flowers” was depicted on a postage stamp in the series Flowers by Hungarian Painters. |
Honored by Luxembourg by issuing two postage stamps on 20 May 1996. |
A crater on the planet Mercury was named in his honor. |
References |
Attribution |
Chisholm, Hugh, ed. (1911). "Munkacsy, Michael von" . Encyclopædia Britannica (11th ed.). Cambridge University Press. |
Bibliography |
James Joyce "Royal Hibernian Academy 'Ecce Homo'", 1899. |
Végvári, Lajos: Munkácsy Mihály élete és művei (the Life and Work of Mihály Munkácsy), Budapest, 1958. |
Munkácsy a nagyvilágban / Munkácsy in the World. Exhibition Catalogue. Ed. by Gosztonyi, Ferenc. Hungarian National Gallery – Szemimpex Kiadó, Budapest, 2005. |
External links |
mihalymunkacsy.org, 37 works by Mihaly Munkácsy |
Japan Mint: 2005 International Coin Design Competition -- see competitor design, "In Memoriam Mihály MUNKÁCSY, Master of Hungarian Art of Painting" ... also see "Fine Works" plaster model, Attila Ronay (designer) |
Alessandro Bonvicino (also Buonvicino) (c. 1498 – possibly 22 December 1554), more commonly known as Moretto, or in Italian Il Moretto da Brescia (the Moor of Brescia), was an Italian Renaissance painter from Brescia, where he also mostly worked. His dated works span the period from 1524 to 1554, but he was already des... |
He also painted a few portraits, but these are more influential. A full-length Portrait of a Man in the National Gallery, London, dated 1526, seems to be the earliest Italian independent portrait at full length, all the more unexpected as the subject, though clearly a wealthy nobleman, shows no sign of being from a pri... |
He was a prominent and pious citizen of the small city of Brescia, belonging to at least two of the most prominent confraternities. |
Biography |
He was born at Rovato, in Brescian territory, and studied first under Fioravante Ferramola. Others state he trained with Vincenzo Foppa. His brothers Pietro and Jacopo were also painters. He may have been apprenticed to Titian in Venice and modelled his earlier portrait-painting on the Venetian style. On the other hand... |
Moretto excelled more in sedate altarpieces than in narrative action, and more in oil painting than in fresco, although he painted fine frescoes depicting the idle daughters of Count Martinengo in one of the palaces near Brescia. In 1521, he worked with Girolamo Romanino in the Cappella del Sacramento in the Old Cathed... |
He painted alongside Lorenzo Lotto at Santa Maria Maggiore in Bergamo. In Brescia, he completed a Five Virgin Martyrs and his masterpiece, the Assumption of the Madonna for the church of San Clemente; a Coronation of the Madonna with four saints (c. 1525) for the church of Santi Nazaro e Celso; and a St Joseph for Sant... |
In the Kunsthistorisches Museum, Vienna is a St Justina (once ascribed to Il Pordenone); in the Staedel Museum, Frankfurt, the Madonna Enthroned between Sts. Anthony and Sebastian; in the Berlin Museum, a colossal Adoration of the Shepherds, and a large votive picture (one of the master's best) of the Madonna and Child... |
Throughout his career his works display an internal oscillation between the traditions of Venetian painting and the Central Italian schools. Simultaneously he looked at the form and colour of Venetian artists such as Titian and Palma the Elder whilst his classicising, sweet intensity earned him the name "Raphael of Bre... |
Il Moretto was stated to have been a man of great personal piety, preparing himself by prayer and fasting for any great act of sacred art, such as the painting of the Virgin-mother. |
Public collections |
Moretto is represented in the following collections: National Gallery, London; Metropolitan Museum, New York; Hermitage, St. Petersburg; Kunsthistorisches Museum, Vienna; Staedel Museum, Frankfurt; Gallerie dell'Accademia, Venice; Pinacoteca Tosio Martinengo, Brescia (Annunciation); Pinacoteca Ambrosiana, Milan; Nation... |
Further works |
Works |
Enthroned Madonna and Child with Saint James the Great and Saint Jerome (1517) |
Christ with the Cross (1518) |
The Dead Christ Adored by Saint Jerome and Saint Dorothy (1520–1521) |
Holy Cross Standard (1520–1521) |
Standard of Our Lady of Mercy (1520–1522) |
Salvation Triptych (1521–1524 or 1527–1528) |
Our Lady of Mount Carmel (c. 1522) |
Assumption of the Virgin (1524–1526) |
Orzinuovi Altarpiece (1525–1530) |
Portrait of a Man (1526) |
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