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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 painter Johan Christian Clausen Dahl, who had recently settled there. He soon became acquainted with the work of Dahl's friend Caspar David Friedrich.
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 Friedrich.
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 influence on his work. Upon his return in 1825, he took a journey through the Alps, painting watercolors. Back in Dresden, he received orders from Johann Gottlob von Quandt and the Crown Prince, who had him create paintings for a "Galerie vaterländischer Landschaften" (Gallery of Patriotic Landscapes).
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 apparently took part in amateur performances at the Societaetstheater. He became a teacher at the Blochmannsche Institute in 1842 and was appointed a court painter in 1846. Shortly thereafter, he was named an honorary member of the academy.
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 commissions. Amongst these were several pictures for the apartments of the king and queen in the Louvre, which are now missing, although they were entered in Bailly's inventory (1710); but several works produced for minor patrons have come down to us.
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 Marmoutiers; St Paul preaching at Ephesus, one of Le Sueur's most complete and thorough performances, painted for the goldsmiths corporation in 1649; and his famous series of the Life of St Bruno, executed in the cloister of the Chartreux. These last have more personal character than anything else Le Sueur produced, and much of their original beauty survives in spite of injuries and restorations and removal from the wall to canvas. Le Sueur was a prolific draftsman and many of his chalk drawings are in the Louvre's Cabinet des Dessins.
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 restrained by a very fine taste, but his works often fail to please completely, because, producing so much, he had too frequent recourse to conventional types, and partly because he rarely saw colour except with the cold and clayey quality proper to the school of Vouet; yet his St Paul at Ephesus and one or two other works show that he was not naturally deficient in this sense, and whenever we get direct reference to nature—as in the monks of the St Bruno series—we recognize his admirable power to read and render physiognomy of varied and serious type.
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 the more eccentric 16th-century painter Milanese Arcimboldo, represents provincial outputs with idiosyncratic tendencies that appear to appeal to the discernment of forms and shapes rather than grand manner themes of religious or mythologic events. For Arcimboldo, the artifice is everything; for Baschenis, the items, man-made musical instruments, have a purpose and a beauty even in their silent geometry. One source for his photographic style of still life could be Caravaggio's early painting of peaches, or alternatively, Dutch paintings. The most faithful imitator of his style is a younger contemporary Bergamese, Bartolomeo Bettera. Baschenis is a contemporary of the Bergamese portrait artist, Carlo Ceresa, and appears to have been influential for the Modenese artist Cristoforo Munari.
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 trend which came to be known as the maniera bergamasca, and which persisted down to the beginning of the nineteenth century), but also by the written sources, which praise Baschenis's extraordinary capacity for realistic representation and his inventiveness. In the very year of his death (1677), a brief but significant testimonial by Father Donato Calvi, prior of the Monastery of Sant'Agostino in Bergamo and a fine connoisseur a of the arts, offered praise of the painter which is also a useful guide to the way in which Baschenis's work was understood by the people of the time:
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 baroque turns of phrase. But the writer's enthusiasm is soundly based upon critical reasons, or at least upon those of taste:
«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 days of fame are opened wide. Your worship will be that phoenix of painters reborn in all the revolutions of the centuries and shall adorn the stones of his tomb with the praises for eternity. Civic splendor of Brembo, proud ornament of galleries, equal of the ancient Apelles and modern light of the Zeuxis. Your worship's brush bears the color of wonder and informs your works with the vivacity of the objects. Rome recalls it with the virtuousity of your paintings, Florence speaks of it with the images of your pigments, Venice echoes with the delicacies of your hand and Turin celebrates the prodigious strokes of your style. Cities where the figured undertakings of your prowess are found have acclaimed them as a miracle of the profession and the effort of genius. I do not say that many princes and the foremost leaders of the Holy Church have thus added light tho the face of the sun. To this outpouring of truth virtue's merit alone urges me and that esteem due such as you.
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 Academy of Fine Arts of Milan. In 1859, to avoid conscription into the Austrian army, he fled Venice. By the next year in 1860, he tried to join with the forces of Giuseppe Garibaldi (1807-1882) in his Expedition of the Thousand. This made it uncomfortable for him to reside in Venice, leading to a brief incarceration, and in 1862, he moved to Florence for 5 years where he frequented the Caffè Michelangiolo. There he met a number of the artists known as the Macchiaioli, including Signorini, Martorelli, Giovanni Fattori and Giuseppe Abbati, and he joined them in painting landscapes outdoors. Painting outside of the studio, "en plein air", was at that time an innovative approach, allowing for a new vividness and spontaneity in the rendering of light.
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 1886. Like his close friend Edgar Degas he was primarily a figure painter, although Zandomeneghi's work was more sentimental in character than Degas'. He also admired the work of Mary Cassatt and Pierre-Auguste Renoir, and his many paintings of women in their domestic routines follow their example.
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 1917.
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 Maria Formosa. During his Venetian period, he traveled alongside Palladio in Friuli. He was involved in the following fresco projects:
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 Rome. Zuccaro was recalled to Rome by Pope Gregory XIII to continue in the Pauline chapel of the Vatican. He visited Brussels, and there made a series of cartoons for the tapestry-weavers. In 1574 he came to England, where he received a commission from Robert Dudley, Earl of Leicester to portray himself and Queen Elizabeth. He also painted Mary, Queen of Scots, Sir Nicholas Bacon, Sir Francis Walsingham, Lord High Admiral Howard.
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, when he returned to Rome. His paintings (like those of El Greco before him) were disliked by Philip II and many were painted over. However the parting was amicable: "We must not blame him, but those who sent him to us", said Philip. He was succeeded by Pellegrino Tibaldi. He there founded in 1595, under a charter confirmed by Pope Sixtus V, the Accademia di San Luca, of which he was the first president. Bartolomeo Carducci is said to have studied with him. Between 1602 and 1604 he frescoed the hall of the Collegio Borromeo in Pavia together with Cesare Nebbia, a work commissioned by Cardinal Federico Borromeo.
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