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References |
Further reading |
Koslow, Susan, Frans Snyders, The noble estate. Seventeenth-century still-life and animal painting in the southern Netherlands, Antwerp, Fonds Mercator Paribas, 1995, ISBN 9061533430 |
External links |
Media related to Frans Snyders at Wikimedia Commons |
Franz Anton Maulbertsch (7 June 1724 – 8 August 1796) was an Austrian painter and engraver, one of the most renowned exponents of Rococo painting in the German and Hungarian regions. |
Maulbertsch was born in Langenargen and studied in the Academy of Vienna. Through the knowledge of Paul Troger, he was influenced by the Venetian painters Piazzetta and Giovanni Battista Pittoni. He also studied the frescoes by Sebastiano Ricci in the Schönbrunn Palace in Vienna, and frequented Giambattista Tiepolo, wh... |
An appreciated frescoer, he received numerous commissions, mostly of ecclesiastical theme. He produced art for churches in Bicske, Kalocsa, Vienna's Michaelerkirche and Piaristenkirche Maria Treu. He also decorated the Porta Coeli in Moravia, the Kroměříž Archbishop's Palace and the villa of Halbturn. |
He also painted a portrait of Narcissus of Jerusalem. |
He died at Vienna in 1796. |
Gallery |
Notes |
References |
Kaufmann, Thomas (2005). Painterly Enlightenment: The Art of Franz Anton Maulbertsch (1724–1796). Chapel Hill: University of North Carolina Press. ISBN 978-0-8078-2956-1. |
Franz Ignaz Josef Flurer (July or August 1688 - 25 June 1742) was a German painter, best known for his landscapes with figures. Much of his work was done in Austria. |
Biography |
He initially trained in Augsburg from 1701 to 1706 with Johann Rieger. Little is known of his next few years, but he apparently spent most of them in Styria and, by 1720, he was in the employ of Ignaz Maria Graf Attems (?-1732). His work involved painting canvases and frescoes for the Graf's manors at Slovenska Bistric... |
In the early 1730s, he executed frescoes for the casino at Haselsdorf-Tobelbad and the garden pavilion at Schloss Brunnsee in Mureck. He also painted religious works, primarily in Graz. These include a portrait of Saint Giles for the altar in Graz Cathedral. In 1733, he was able to purchase a large home and settle in G... |
His compositional style was heavily influenced by the works of Annibale Carracci and Pietro da Cortona and his general style derives from the Venetian painters Marco Ricci and Luca Carlevaris. Certain resemblances to the works of Gaspard Dughet and Pieter Mulier have also been pointed out. Although they were French and... |
References |
Further reading |
Franz Ignaz Flurer (1688-1742). Ein Barockmaler in der Steiermark. Exhibition catalog, Kulturreferat der Landeshauptstadt Graz, 1983 Listing @ AbeBooks |
External links |
More works by Flurer @ ArtNet |
Flurer @ the Graz website |
François Boucher (UK: BOO-shay, US: boo-SHAY; French: [fʁɑ̃swa buʃe]; 29 September 1703 – 30 May 1770) was a French painter, draughtsman and etcher, who worked in the Rococo style. Boucher is known for his idyllic and voluptuous paintings on classical themes, decorative allegories, and pastoral scenes. He was perhaps... |
Life |
A native of Paris, Boucher was the son of a lesser known painter Nicolas Boucher, who gave him his first artistic training. At the age of seventeen, a painting by Boucher was admired by the painter François Lemoyne. Lemoyne later appointed Boucher as his apprentice, but after only three months, he went to work for the ... |
In 1720, he won the elite Grand Prix de Rome for painting, but did not take up the consequential opportunity to study in Italy until five years later, due to financial problems at the Académie royale de peinture et de sculpture. On his return from studying in Italy he was admitted to the refounded Académie de peinture ... |
Boucher married Marie-Jeanne Buzeau in 1733. The couple had three children together. Boucher became a faculty member in 1734 and his career accelerated from this point as he was promoted Professor then Rector of the academy, becoming inspector at the Royal Gobelins Manufactory and finally Premier Peintre du Roi (First ... |
Boucher died on 30 May 1770 in his native Paris. His name, along with that of his patron Madame de Pompadour, had become synonymous with the French Rococo style, leading the Goncourt brothers to write: "Boucher is one of those men who represent the taste of a century, who express, personify and embody it." |
Boucher is famous for saying that nature is "trop verte et mal éclairée" (too green and badly lit). |
Boucher was associated with the gemstone engraver Jacques Guay, whom he taught to draw. He also mentored the Moravian-Austrian painter Martin Ferdinand Quadal as well as the neoclassical painter Jacques-Louis David in 1767. Later, Boucher made a series of drawings of works by Guay which Madame de Pompadour then engrave... |
Painting |
Boucher took inspiration from artists such as Peter Paul Rubens and Antoine Watteau. Boucher's early works celebrate the idyllic and tranquil portrayal of nature and landscape with great elan. However, his art typically forgoes traditional rural innocence to portray scenes with a definitive style of eroticism as his my... |
Boucher's paintings such as The Breakfast (1739), a familial scene, show how he was as a master of the genre scene, where he regularly used his own wife and children as models. These intimate family scenes are contrasting to the licentious style seen in his Odalisque portraits. |
The dark-haired version of the Odalisque portraits prompted claims by the art critic Denis Diderot that Boucher was "prostituting his own wife", and the Blonde Odalisque was a portrait that illustrated the extramarital relationships of the King. Boucher gained lasting notoriety through such private commissions for weal... |
Theatrical and tapestry designs |
Along with his painting, Boucher also designed theater costumes and sets, and the ardent intrigues of the comic operas of Charles Simon Favart closely paralleled his own style of painting. Tapestry design was also a concern. For the Beauvais tapestry workshops he first designed a series of Fêtes italiennes ("Italian fe... |
Boucher was also called upon for designs for court festivities organized by that section of the King's household called the Menus-Plaisirs du Roi and for the opera and for royal châteaux Versailles, Fontainebleau and Choisy. His designs for all of the aforementioned augmented his earlier reputation, resulting in many e... |
Drawings and prints |
Boucher was a very prolific and varied draftsman. His drawings served not only as preparatory studies for his paintings and as designs for printmakers but also as finished works of art for which there was a great demand by collectors. Boucher followed standard studio practices of the time, by first working out the over... |
Gradually he made more and more sketches as independent works for the market. The Adoration of the Shepherds (Metropolitan Museum of Art), a free and painterly sketch in gouache, was long considered a preparatory sketch for Madame de Pompadour's private altarpiece La lumière du monde (ca. 1750, Musée des Beaux-Arts, Ly... |
Boucher was also a gifted engraver and etcher. Boucher etched some 180 original copperplates. He made many etchings after Watteau. He thus helped propagate a taste for reproductions of drawings. When his own drawings began to sell, 266 of them were etched in stipple substitutes by Gilles Demarteau. These were printed i... |
Boucher's most original inventions were decorative, and he contributed to the fashionable style of chinoiserie, after having etched 12 'Figures Chinoises' (Chinese figures) by Watteau. |
Gallery |
Works by François Boucher |
This is an incomplete list of works by François Boucher. |
Death of Meleager (c. 1727), Los Angeles County Museum of Art |
Project for a Cartouche (c. 1727), Los Angeles County Museum of Art |
Imaginary Landscape with the Palatine Hill from Campo Vaccino (1734), Metropolitan Museum of Art |
Monument to Mignard (c. 1735), Los Angeles County Museum of Art |
Venus and Mercury Instructing Cupid (1738), Los Angeles County Museum of Art |
Cupid Wounding Psyche (1741), Los Angeles County Museum of Art |
Les Confidences Pastorales (c. 1745), Los Angeles County Museum of Art |
Arion on the Dolphin (1748), Princeton University Art Museum |
Pompadour at Her Toilette (1750), Harvard Art Museums |
Sketch for a Portrait of Madame de Pompadour (c.1750), Waddesdon Manor |
The Bird Has Flown (1765), Snite Museum of Art, University of Notre Dame, IN |
The Interrupted Sleep (1750), Metropolitan Museum of Art |
The Love Letter (1750), National Gallery of Art |
The Toilette of Venus (1751), Metropolitan Museum of Art |
Shepherd Boy Playing Bagpipes (c. 1754), Museum of Fine Arts, Boston |
Landscape with a Watermill (1755), National Gallery, London |
Venus in the Workshop of Vulcan (1757), Yale University Art Gallery |
Fishing (1757), Grand Trianon |
Lovers in a Park (1758), Timken Museum, |
Pan and Syrinx (1759), National Gallery, |
Study of a standing nude young woman seen from behind, raising drapery (1762), Miguel Urrutia Art Museum, Bogotá |
Angelica and Medoro (1763), Metropolitan Museum of Art |
Jupiter, in the Guise of Diana, and Callisto (1763), Metropolitan Museum of Art |
The Judgment of Paris (circa 1763), Musée des Beaux-Arts de Mulhouse |
Virgin and Child with the Young Saint John the Baptist and Angels (1765), Metropolitan Museum of Art |
Halt at the Spring (1765), Museum of Fine Arts, Boston |
Return from Market (1767), Museum of Fine Arts, Boston |
Shepherd's Idyll (1768), Metropolitan Museum of Art |
Washerwomen (1768), Metropolitan Museum of Art |
Aurora Heralding the Arrival of the Morning Sun (1765), National Gallery of Art |
See also |
List of Orientalist artists |
Orientalism |
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