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St John the Baptist Explaining the Doctrine of the Immaculate Conception to Sts Gregory, Augustine, and John Chrysostom, 1686, Cybo Chapel, Santa Maria del Popolo, Rome. |
Portrait of Clement IX Rospigliosi, 1669, Pinacoteca Gallery, Vatican Museums, Rome. |
Saint Joseph and the Infant Christ, Dunedin Public Art Gallery, Dunedin. |
Assumption of an Enthroned Virgin, Santa Maria in Vepretis, San Ginesio |
Notes |
References |
Chaney, Edward (2003). The Evolution of English Collecting. Yale University Press. |
Finn, Alex (n.d.). A Kiss in Time. n.k.{{cite book}}: CS1 maint: year (link) |
Hobbes, James R. (1849). Picture collector's manual; Dictionary of Painters. London: T. & W. Boone. pp. 148–151. |
Wittkower, Rudolf (1993). Art and Architecture Italy 1600-1750. 1980. Pelican History of Art, Penguin Books. pp. 337–339. |
External links |
National gallery (UK) web site entry for Carlo Maratta (accessed May 2013) |
WGA site and gallery |
Texts on Wikisource: |
"Carlo Maratta". Catholic Encyclopedia. 1913. |
"Maratti, Carlo". The American Cyclopædia. 1879. |
"Maratti, Carlo". New International Encyclopedia. 1905. |
Charles Auguste Émile Durand, known as Carolus-Duran (4 July 1837 in Lille – 17 February 1917 in Paris), was a French painter and art instructor. |
He is noted for his stylish depictions of members of high society in Third Republic France. |
Biography |
The son of a hotel owner, his first drawing lessons were with a local sculptor named Augustin-Phidias Cadet de Beaupré (1800–?) at the Académie de Lille; then took up painting with François Souchon, a student of Jacques-Louis David. He went to Paris in 1853, where he adopted the name "Carolus-Duran". |
In 1859, he had his first exhibition at the Salon. That same year, he began attending the Académie Suisse, where he studied until 1861. One of his early influences was the Realism of Gustave Courbet. |
From 1862 to 1866, he travelled to Rome and Spain, thanks to a scholarship granted by his hometown. During that time, he moved away from Courbet's style and became more interested in Diego Velázquez. |
Upon returning to France, he was awarded his first gold medal at the Salon. His picture "Murdered", or "The Assassination" (1866), was one of his first successes, but he became best known afterwards as a portrait-painter, and as the head of one of the principal ateliers in Paris, where some of the most brilliant artist... |
In 1867, he became one of the nine members of the "Société Japonaise du Jinglar" (a type of wine); a group that included Henri Fantin-Latour, Félix Bracquemond and Marc-Louis Solon. They would meet once a month in Sèvres for a dinner "à la Japonaise". |
He married Pauline Croizette, a pastellist and miniaturist who had posed for his painting "The Lady in Gloves" in 1869. They had three children. Their eldest daughter, Marie-Anne, married the playwright Georges Feydeau. |
After 1870, he devoted himself almost entirely to portraits. While many of his paintings depicted wealthy patrons in elegant clothing, he also notably painted a portrait of his gardener which stands in contrast to his other works in its loose strokes and earth tones. His success allowed him to open a studio on the Boul... |
In 1889 and 1900 he served on the juries at the Expositions Universelles. In 1890, he was one of the co-founders of the second Société Nationale des Beaux-Arts and he was elected a member of the Académie des Beaux-Arts in 1904. The following year, he was appointed Director of the French Academy in Rome, a position he h... |
Pupils |
His pupils reportedly included John Singer Sargent, Irving Ramsey Wiles, Ralph Wormeley Curtis, Francis Brooks Chadwick, Emma Chadwick Jan Stanisławski (painter), Kenyon Cox Theodore Robinson, Mariquita Jenny Moberly. Mariette Leslie Cotton, Maximilien Luce, James Carroll Beckwith, Will Hicok Low, |
Mary Fairchild MacMonnies Low, Alexandre Jean-Baptiste Brun, Robert Alan Mowbray Stevenson, Lucy Lee-Robbins, Ramón Casas i Carbó, Ernest Ange Duez and James Cadenhead |
Selected works |
References |
Attribution: |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Carolus-Duran". Encyclopædia Britannica. Vol. 5 (11th ed.). Cambridge University Press. p. 381. |
External links |
Paintings of Carolus-Duran on Insecula |
Works by Carolus-Duran at Project Gutenberg |
Carolus Duran at the Internet Speculative Fiction Database |
Carolus-Duran in American public collections, on the French Sculpture Census website |
Caspar David Friedrich (5 September 1774 – 7 May 1840) was a German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his allegorical landscapes, which typically feature contemplative figures silhouetted against night skies, morning mists, barren t... |
Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spi... |
Friedrich's work brought him renown early in his career. Contemporaries such as the French sculptor David d'Angers spoke of him as having discovered "the tragedy of landscape". His work nevertheless fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19t... |
The early 20th century brought a renewed appreciation of his art, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. His work influenced Expressionist artists and later Surrealists and Existentialists. The rise of Nazism in the early 1930s saw a resurgence in Friedrich's popularity, but this... |
Life |
Early years and family |
Caspar David Friedrich was born on 5 September 1774, in Greifswald, Swedish Pomerania, on the Baltic coast of Germany. The sixth of ten children, he was raised in the strict Lutheran creed of his father Adolf Gottlieb Friedrich, a candle-maker and soap boiler. Records of the family's financial circumstances are contrad... |
Friedrich began his formal study of art in 1790 as a private student of artist Johann Gottfried Quistorp at the University of Greifswald in his home city, at which the art department is now named Caspar-David-Friedrich-Institut in his honour. Quistorp took his students on outdoor drawing excursions; as a result, Friedr... |
Living in Copenhagen afforded the young painter access to the Royal Picture Gallery's collection of 17th-century Dutch landscape painting. At the academy he studied under teachers such as Christian August Lorentzen and the landscape painter Jens Juel. These artists were inspired by the Sturm und Drang movement and repr... |
Move to Dresden |
Friedrich settled permanently in Dresden in 1798. During this early period, he experimented in printmaking with etchings and designs for woodcuts which his furniture-maker brother cut. By 1804 he had produced 18 etchings and four woodcuts; they were apparently made in small numbers and only distributed to friends. Desp... |
Landscapes were his preferred subject, inspired by frequent trips, beginning in 1801, to the Baltic coast, Bohemia, the Krkonoše and the Harz Mountains. Mostly based on the landscapes of northern Germany, his paintings depict woods, hills, harbors, morning mists and other light effects based on a close observation of n... |
His reputation as an artist was established when he won a prize in 1805 at the Weimar competition organised by Johann Wolfgang von Goethe. At the time, the Weimar competition tended to draw mediocre and now-forgotten artists presenting derivative mixtures of neo-classical and pseudo-Greek styles. The poor quality of th... |
Friedrich completed the first of his major paintings in 1808, at the age of 34. Cross in the Mountains, today known as the Tetschen Altar, is an altarpiece panel said to have been commissioned for a family chapel in Tetschen, Bohemia. The panel depicts a cross in profile at the top of a mountain, alone, and surrounded ... |
Although the altarpiece was generally coldly received, it was Friedrich's first painting to receive wide publicity. The artist's friends publicly defended the work, while art critic Basilius von Ramdohr published a long article challenging Friedrich's use of landscape in a religious context. He rejected the idea that l... |
Following the purchase of two of his paintings by the Prussian Crown Prince, Friedrich was elected a member of the Berlin Academy in 1810. Yet in 1816, he sought to distance himself from Prussian authority and applied that June for Saxon citizenship. The move was not expected; the Saxon government was pro-French, while... |
Marriage |
On 21 January 1818, Friedrich married Caroline Bommer, the twenty-five-year-old daughter of a dyer from Dresden. The couple had three children, with their first, Emma, arriving in 1820. Physiologist and painter Carl Gustav Carus notes in his biographical essays that marriage did not impact significantly on either Frie... |
Around this time, he found support from two sources in Russia. In 1820, the Grand Duke Nikolai Pavlovich, at the behest of his wife Alexandra Feodorovna, visited Friedrich's studio and returned to Saint Petersburg with a number of his paintings, an exchange that began a patronage that continued for many years. Not long... |
Friedrich was acquainted with Philipp Otto Runge, another leading German painter of the Romantic period. He was also a friend of Georg Friedrich Kersting, and painted him at work in his unadorned studio, and of the Norwegian painter Johan Christian Clausen Dahl (1788–1857). Dahl was close to Friedrich during the artist... |
Later life |
Friedrich's reputation steadily declined over the final fifteen years of his life. As the ideals of early Romanticism passed from fashion, he came to be viewed as an eccentric and melancholy character, out of touch with the times. Gradually his patrons fell away. By 1820, he was living as a recluse and was described by... |
He suffered his first stroke in June 1835, which left him with minor limb paralysis and greatly reduced his ability to paint. As a result, he was unable to work in oil; instead he was limited to watercolour, sepia and reworking older compositions. Although his vision remained strong, he had lost the full strength of hi... |
During the mid-1830s, Friedrich began a series of portraits and he returned to observing himself in nature. As the art historian William Vaughan observed, however, "He can see himself as a man greatly changed. He is no longer the upright, supportive figure that appeared in Two Men Contemplating the Moon in 1819. He is ... |
Death |
Friedrich died in Dresden on 7 May 1840, and was buried in Dresden's Trinitatis-Friedhof (Trinity Cemetery) east of the city centre (the entrance to which he had painted some 15 years earlier). His simple flat gravestone lies north-west of the central roundel within the main avenue. |
By this time his reputation and fame had waned, and his passing was little noticed within the artistic community. His artwork had certainly been acknowledged during his lifetime, but not widely. While the close study of landscape and an emphasis on the spiritual elements of nature were commonplace in contemporary art, ... |
Carl Gustav Carus later wrote a series of articles which paid tribute to Friedrich's transformation of the conventions of landscape painting. However, Carus' articles placed Friedrich firmly in his time, and did not place the artist within a continuing tradition. Only one of his paintings had been reproduced as a prin... |
Themes |
Landscape and the sublime |
What the newer landscape artists see in a circle of a hundred degrees in Nature they press together unmercifully into an angle of vision of only forty-five degrees. And furthermore, what is in Nature separated by large spaces, is compressed into a cramped space and overfills and oversatiates the eye, creating an unfavo... |
The visualisation and portrayal of landscape in an entirely new manner was Friedrich's key innovation. He sought not just to explore the blissful enjoyment of a beautiful view, as in the classic conception, but rather to examine an instant of sublimity, a reunion with the spiritual self through the contemplation of nat... |
Friedrich created the idea of a landscape full of romantic feeling—die romantische Stimmungslandschaft. His art details a wide range of geographical features, such as rock coasts, forests and mountain scenes, and often used landscape to express religious themes. During his time, most of the best-known paintings were vi... |
He was one of the first artists to portray winter landscapes in which the land is rendered as stark and dead. Friedrich's winter scenes are solemn and still—according to the art historian Hermann Beenken, Friedrich painted winter scenes in which "no man has yet set his foot. The theme of nearly all the older winter pic... |
Bare oak trees and tree stumps, such as those in Raven Tree (c. 1822), Man and Woman Contemplating the Moon (c. 1824), and Willow Bush under a Setting Sun (c. 1835), are recurring elements of his paintings, and usually symbolise death. Countering the sense of despair are Friedrich's symbols for redemption: the cross an... |
With dawn and dusk constituting prominent themes of his landscapes, Friedrich's own later years were characterised by a growing pessimism. His work becomes darker, revealing a fearsome monumentality. The Wreck of the Hope—also known as The Polar Sea or The Sea of Ice (1823–1824)—perhaps best summarises Friedrich's idea... |
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