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Life |
He originally attended the Friedrichstadt teacher training college and worked as an assistant to a "Torschreiber" (a combination gate keeper and tax collector). After beginning as an auto-didact, with some help from Carl Wagner, he enrolled at the Dresden Academy of Fine Arts in 1819, where he studied with the Danish p... |
Together with August Heinrich, a student of Friedrich's, he became familiar with the surrounding countryside, especially Saxon Switzerland, and practiced what would later become known as plein-air painting. He had his first exhibition at the academy in 1821 with "Cathedral in Winter", a work that shows the influence of... |
With financial assistance from Crown Prince Friedrich Augustus of Saxony, he was able to continue his studies in Italy, where he gravitated towards the German community and made lifelong friendships with Ludwig Richter, Carl Gottlieb Peschel and Julius Schnorr von Carolsfeld, although the Nazarene movement had little i... |
By the 1830s, he had begun to break away from his earlier style, painting works that were more realistic and less laden with symbolism. In the 1840s, he found an important patron in retired Major Friedrich Anton Serre, whose home was a significant gathering point for artists, writers and musicians. During this time, he... |
His son, Ernst Erwin, was also a well-known painter. |
Selected paintings |
References |
Further reading |
Gerd Spitzer (Ed.): Malerei der Romantik in der Gemäldegalerie Neue Meister Dresden. Seemann, Leipzig 1996, ISBN 3-363-00654-3. |
Ulrich Bischoff (Ed.): Ernst Ferdinand Oehme 1759-1855 - Ein Landschaftsmaler der Romantik, Exhibition catalog. Dresdner Kunstauktionshaus Neumeister, Dresden 1997. |
External links |
ArtNet: More works by Oehme. |
ABC Book for Children of All Ages, drawn by Dresden artists with stories and songs by Robert Reinick and Ferdinand Hiller, Leipzig : Wigand, 1845. - Digitalized by the University and State Library Düsseldorf |
Literature by and about Ernst Ferdinand Oehme in the German National Library catalogue |
Eustache Le Sueur or Lesueur (19 November 1617 – 30 April 1655) was a French artist and one of the founders of the French Academy of Painting. He is known primarily for his paintings of religious subjects. He was a leading exponent of the neoclassical style of Parisian Atticism. |
Training and career |
He was born in Paris, where he spent his entire life. His father, Cathelin Le Sueur, a turner and sculptor in wood, placed him with Vouet, in whose studio he rapidly distinguished himself. |
Admitted at an early age into the guild of master-painters, he left them to take part in establishing the French Royal Academy of Painting and Sculpture in 1648 and was elected as one of the original twelve elders in charge of its administration. |
Some paintings, illustrative of the Hypnerotomachia Poliphili, which were reproduced in tapestry, brought him notice, and his reputation was further enhanced by a series of decorations (Louvre) in the mansion of Lambert de Thorigny, which he left uncompleted, for their execution was frequently interrupted by other comm... |
In the gallery of the Louvre are the Angel and Hagar, from the mansion of De Tonnay Charente; Tobias and Tobit, from the Fieubet collection; several pictures executed for the church of Saint Gervais; the Martyrdom of St Lawrence, from Saint Germain de l'Auxerrois; two very fine works from the destroyed abbey of Marmout... |
His pupils, who aided him much in his work, were his wife's brother, Theodore Goussé, and three brothers of his own, as well as Claude Lefèbvre and Pierre Patel the landscape painter. Most of his works have been engraved, chiefly by Picart, B. Audran, Leclerc, Drevet, Chauveau, Poilly and Desplaces. |
Style |
According to the Encyclopædia Britannica Eleventh Edition, it was considered that Le Sueur's work lent itself readily to the engraver's art, as he had a delicate perception of varied shades of grave and elevated sentiment, and possessed the power to render them. His graceful facility in composition was always restraine... |
Selected works |
Notes |
References |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Le Sueur, Eustache". Encyclopædia Britannica. Vol. 16 (11th ed.). Cambridge University Press. pp. 499–500. |
External links |
Life of St. Bruno gallery at the Louvre |
Evaristo Baschenis (7 December 1617 – 16 March 1677) was an Italian Baroque painter of the 17th century, active mainly around his native city of Bergamo. |
Biography |
He was born to a family of artists. He is best known for still lifes, most commonly of musical instruments. This could explain his friendship with a family with notable violin makers from Cremona. Still-life depiction were uncommon as a thematic among Italian painters prior to the 17th century. Baschenis, along with th... |
Critical reception |
The rapid success achieved by the painter early on in Bergamo and other Italian centers (Milan, Venice, Turin, Florence, Rome) is attested to not only by the numerous works present in the private collections of the time and by the large number of copies and imitations derived by anonymous painters from his models (a tr... |
Having rendered himself outstanding in painting objects from nature, especially inanimate ones, and unequaled in depicting instruments and figures of the liberal arts, he swiftly walked the path of immortality. |
In Mgr. Bottari's «Pictorial Letters» (1822, IV, p. 22), there is a letter of Antonio Lupis addressed to Baschenis, supplied by Count Giacomo Carrara who greatly helped the Roman Scholar in compiling that renowned collection, which is worth quoting here. The tone is swollen, the hyperbole somewhat ponderous with baroqu... |
«In painting your worship has arrived at that fullness that can grant perfection and the ultimate exquisiteness of art. With your compositions you have conquered the characteristics of nature and forced the canvas to speak. Even the shadows spread by your hands lend rays to glory and with the night the most resplendent... |
Gallery |
Sources |
Wittkower, Rudolf (1993). Art and Architecture Italy, 1600-1750. Penguin Books, Pelican History of Art. pp. 350–351. |
Web Gallery Art biography |
External links |
A Caravaggio Rediscovered, The Lute Player, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Baschenis (see cat. no. 17) |
Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Baschenis. (see cat. nos. 101–102) |
Federico Zandomeneghi (Italian pronunciation: [fedeˈriːko ddzandoˈmeːneɡi]; June 2, 1841 – December 31, 1917) was an Italian Impressionist painter. |
Biography |
Federico Zandomeneghi was born in Venice. His father Pietro and grandfather Luigi were neoclassic sculptors. The latter completed the monument to Titian found in the Frari of Venice. As a young man, he preferred painting to sculpture, enrolling in 1856 first in the Accademia di Belle Arti in Venice, and then in the Aca... |
By 1866, Zandomeneghi had returned to Venice. In 1871 Pompeo Molmenti wrote glowing assessments of three young Venetian painters: Guglielmo Ciardi, Alessandro Zezzos, and Zandomeneghi. In 1872, he would travel to Rome and paint one of his masterworks; I poverini sui gradini dell'Ara Coeli. |
In 1874, he went to Paris, where he was to spend nearly the rest of his life. He quickly made the acquaintance of the Impressionists, who had just had their first group exhibition. Zandomeneghi, whose style of painting was similar to theirs, would participate in four of their later exhibitions, in 1879, 1880, 1881, and... |
To supplement the meager returns from the sale of his paintings, Zandomeneghi found work drawing illustrations for fashion magazines. |
He took up working in pastels in the early 1890s, and became especially adept in this medium. At about this time his reputation and his fortunes were enhanced when the art dealer Durand-Ruel showed Zandomeneghi's work in the United States. From then on he enjoyed continuing modest success until his death in Paris in 19... |
Gallery |
Notes |
References |
Broude, Norma (1987). The Macchiaioli: Italian Painters of the Nineteenth Century. New Haven and London: Yale University Press. ISBN 0-300-03547-0 |
Steingräber, Erich; Matteucci, Giuliano (1984). The Macchiaioli: tuscan painters of the sunlight. New York: Stair Sainty Matthiesen Gallery. |
Federico Zuccaro, also known as Federico Zuccari (c. 1540/1541 – Unknown), was an Italian Mannerist painter and architect, active both in Italy and abroad. |
Biography |
Zuccaro was born at Sant'Angelo in Vado, near Urbino (Marche). |
His documented career as a painter began in 1550, when he moved to Rome to work under Taddeo, his elder brother. He went on to complete decorations for Pius IV, and help complete the fresco decorations at the Villa Farnese at Caprarola. Between 1563 and 1565, he was active in Venice with the Grimani family of Santa Mar... |
Decoration of the Casina Pio IV, Rome |
Grimani Chapel, San Francesco della Vigna, Venice |
Monumental staircase, Palazzo Grimani, Venice |
Pucci Chapel in the church of Trinità dei Monti, Rome |
San Marcello al Corso, Rome |
Cathedral of Orvieto (1570) |
Oratorio del Gonfalone, Rome (1573) |
The Last Judgement on the ceiling of the dome of the Florence Cathedral. Started by Giorgio Vasari and unfinished at the time of his death, it was completed by Zuccari between 1576 and 1579 with the assistance of Bartolomeo Carducci, Domenico Passignano and Stefano Pieri. |
Another picture in the same collection appears to be a replica of his painting of the "Allegory of Calumny", as suggested by Lucian's description of a celebrated work by Apelles; the satire in the original painting, directed against some of his courtier enemies, was the immediate cause of Zuccaro's temporary exile from... |
He painted a portrait of a Man with Two Dogs, in the Pitti Palace (Florence), and the Dead Christ and Angels in the Galleria Borghese (Rome). In 1585, he accepted an offer by Philip II of Spain to decorate the new Escorial at a yearly salary of 2,000 crowns. He worked at the palace from January 1586 to end of 1588, whe... |
Like Giorgio Vasari a generation before, Zuccaro aimed at being an art critic and historian. His chief book, L'idea de' Pittori, Scultori, ed Architetti (1607), was far less popular. |
Zuccaro was raised to the rank of cavaliere not long before his death, which took place at Ancona in 1609. |
References |
Further reading |
Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500-1600. Penguin Books Ltd. |
Thompson, Wendy (2008). "Federico Zuccaro's Love Affair with Florence: Two Allegorical Designs" (PDF). Metropolitan Museum Journal. 43. Chicago: The University of Chicago Press: 75–97. |
External links |
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