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Works
Luigi and Alvise III Pisani and family
Portrait of Carlo Goldoni (125 cm × 105 cm (49 in × 41 in))
Portrait of a Composer, erroneously to be the Portrait of Domenico Cimarosa
Portrait of a Lady (100 cm × 80 cm (39 in × 31 in))
Portrait of a Gentleman (65 cm × 34 cm (26 in × 13 in))
Portrait of a Gentleman (206 cm × 115 cm (81 in × 45 in))
Portrait of Bartholomeo Ferracino Ca' Rezzonico Venice
Couple 1 of 2
Couple 2 of 2
Portrait of Giambattista Piazzetta
Portrait of Giuseppe Chiribiri (Cherubini) (83.5 cm × 65 cm (32.9 in × 25.6 in))
Portrait of Giulio Contarini (102.5 cm × 91 cm (40.4 in × 35.8 in))
Portrait of Giacomo Casanova
Portrait of Antonio Renier (233 cm × 137 cm (92 in × 54 in))
Portrait of a Magistrate
Painting and Merit
The Visitation of the Virgin in Sant'Antonio Taumaturgo, Trieste
Gallery
References
Wittkower, Rudolf (1993). "Art and Architecture Italy, 1600-1750". Pelican History of Art. 1980. Penguin Books Ltd. p. 493.
External links
Italian Paintings, Venetian School, a collection catalog containing information about Longhi and his works (see index; plate 44).
Alessandro Tiarini (20 March 1577 – 8 February 1668) was an Italian Baroque painter of the Bolognese School.
Biography
Alessandro Tiarini was born in Bologna. His mother died when he was a child, and he was raised by an aunt. Early on his family tried, unsuccessfully, to guide him towards becoming a cleric. He was the godson of painter Lavinia Fontana and initially apprenticed in Bologna under her father Prospero Fontana, and subsequently with Bartolomeo Cesi. He was not inducted into the Carracci Academy. Forced to flee from Bologna, due to what Malvasia and Amorini describe as a quarrel leading to the death of the other party, he moved to Florence, where he painted frescoes, façade decorations, and altarpieces (1599–1606) including an Adoration of the Shepherds (Pitti Palace). In Florence, he mainly worked under Domenico Passignano, but also Bernardino Poccetti and Jacopo da Empoli.
He was lured back to Bologna and Reggio Emilia, by Ludovico Carracci. His Grieving over a dead Jesus is in the Pinacoteca Nazionale of Bologna. He painted a series of frescoes for the Brami Chapel in the sanctuary, as well as other works, for the Basilica della Ghiara in Reggio Emilia. He also painted in Cremona (1623–24). In 1628, he painted the Story of Gerusalemme Liberata for the Farnese Palazzo del Giardino in Parma. He also painted the Raising of the Cross for the Oratorio della Buona Morte in Reggio, a work now displayed in the Galleria Estense of Modena and Judith and Holofernes for the church of Santa Maria di Canepanova in Pavia.
He painted a Virgin, Mary Magdalene, and St John, weeping over the instruments of the Passion for church of S. Benedetto; St. Catherine kneeling before a Crucifix for Santa Maria Maddalena; a Pietà for Sant'Antonio; and St Dominic resurrecting a child for the church of San Domenico. Other works in Bologna include a Martyrdom of St. Barbara for the San Petronio Basilica, a Nativity for Santissimo Salvatore, and a Flight to Egypt for San Vitale.
Tiarini died in Bologna. His closest pupils were Francesco Carbone and Luca Barbieri.
Gallery
References
Further reading
Francis P. Smyth and John P. O'Neill (Editors in Chief) (1986). National Gallery of Art, Washington DC (ed.). The Age of Correggio and the Carracci: Emilian Painting of the 16th and 17th Centuries. pp. 538–542. {{cite book}}: |author= has generic name (help)
Marchese Antonio Bolognini Amorini (1843). Vite de Pittori ed Artifici Bolognesi. Tipografia Governativa alla Volpe ed Nobili, Bologna. pp. 72–93.
Bryan, Michael (1889). Walter Armstrong; Robert Edmund Graves (eds.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. II L-Z. London: George Bell and Sons. p. 570.
External links
Media related to Alessandro Tiarini at Wikimedia Commons
Alfred Stevens may refer to:
Alfred Stevens (painter) (1823–1906), Belgian painter
Alfred Stevens (sculptor) (1818–1875), British sculptor
See also
Alfred George Stephens ('A. G. Stephens') (1865–1933), Australian writer
Alfred Stephen (1802–1894), Australian judge
Alonso Cano Almansa or Alonzo Cano (19 March 1601 – 3 September 1667) was a Spanish painter, architect, and sculptor born in Granada.
Biography
He learned architecture from his father, Miguel Cano; painting in the academy of Juan del Castillo, and from Francisco Pacheco the teacher of Velázquez; and sculpture from Juan Martínez Montañés. As a sculptor, his most famous works are the Madonna and Child in the church of Lebrija (also called Nebrija), and the colossal figures of San Pedro and San Pablo.
He was made first royal architect, painter to Philip IV, and instructor to the prince, Balthasar Charles, Prince of Asturias. The King gave him the church preferment of a canon of the Granada Cathedral (1652), in order to take up a position as chief architect of the cathedral. Towards the end of his life, he designed the cathedral façade, which was erected to his design after his death.
He was notorious for his ungovernable temper; and it is said that once he risked his life by committing the then capital offence of dashing to pieces the statue of a saint, when in a rage with the purchaser who begrudged the price he demanded. According to another story, he found his house robbed after coming home one evening, his wife murdered, and his Italian servant fled. Notwithstanding the presumption against the fugitive, the magistrates condemned Cano, because he was of a jealous temper. Upon this he fled to Valencia, but afterwards returned to Madrid, where he was put to the torture, which he endured without incriminating himself, and the king received him into favour.
After the death of his wife he took Holy Orders as a protection from further prosecution, but still continued his professional pursuits. He died in 1667. In his last moments, when the priest held to him a crucifix, he told him to take it away because it was badly carved. According to the Catholic Encyclopedia, the dying Cano refused the Sacrament from a priest who gave it to conversos.
Works
San Vicente Ferrer (praying)
Virgin of the Olive Tree (1629)
Inmaculada del Facistol (1655–1656) in the sacristy of the Cathedral of Granada.
Virgen of Bethlehem
Bust of Saint Paul
Head of San Juan de Dios
Annunciation
Christ Bound to the Column in the church of the Convento del Stmo. Cristo de la Victoria de Serradilla (Cáceres).
Entrance of the Cathedral of Granada
Saint John the Baptist as a Youth 1634, in the National Sculpture Museum (Valladolid).
St. Anthony Preaching to the Fishes (ca. 1630) [The Detroit Institute of Arts]
Christ and the Samaritan Woman(ca. 1650-1652) Real Academia de Bellas Artes de San Fernando Madrid.
The Death of Saint Francis. Real Academia de Bellas Artes de San Fernando, Madrid.
The Christ Crucified (c.1646) Real Academia de Bellas Artes de San Fernando.
Works by Cano in the Prado Museum in Madrid include:
The Crucifixion
Saint Anthony of Padua
The Crucified Christ appears to Saint Teresa
A king of Spain
Two kings of Spain
The Miracle of the Well
Saint Bernard and the Virgin
The Virgin and Child
The Dead Christ supported by an Angel
Gallery
External links
Paintings of Alonso Cano on Insecula
Scholarly articles about Alonso Cano both in web and PDF at the Spanish Old Masters Gallery
Alonso Cano on Artcyclopedia
Jusepe de Ribera, 1591–1652, a full text exhibition catalog from The Metropolitan Museum of Art, which includes material on Alonso Cano (see index)
References
This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Alonso Cano". Catholic Encyclopedia. New York: Robert Appleton Company.
Ambrosius Francken I (1544–1618) was a Flemish painter known for his religious works and historical allegories painted in a late Mannerist style. He was a prominent member of the Francken family of artists, which played a very important role in the Flemish art scene from the late 16th to middle 17th century.
Life
Ambrosius Francken I was born in Herentals. His father was the painter Nicolaes Francken from Herentals who later moved to Antwerp. His brothers Frans Francken I and Hieronymus Francken I both became successful painters. Ambrosius studied under his father and the leading Antwerp Mannerist painter Frans Floris. The early biographer Karel van Mander reports in the Schilder-boeck that Francken spent time in Tournai where he lived at the Bishop's residence. Van Mander met him in Tournai while he himself was residing there as a young pupil at his master Pieter Vlerick's house. In 1570 Francken spent some time in Fontainebleau.