| type,startTime,endTime,query,links_found,url,content_length,content,link_idx | |
| tavily_search,0.0,3.5932540893554688,"How many children did Swiss painter Johann Caspar Füssli have with his wife, Elisabeth?",5.0,,,, | |
| page_scrape,3.6820309162139893,4.172138452529907,,,https://en.wikipedia.org/wiki/Johann_Caspar_Füssli,1629.0,"Johann Caspar Füssli | |
| Füssli byAnton Graff, 1765 | |
| Johann Heinrich,Johann Kaspar,Anna, 1 other daughter and 14 others **Johann Caspar Füssli**(3 January 1706 – 6 May 1782) was a Swissportraitpainter and art historian. Füssli was born inZürichto Hans Rudolf Füssli, who was also a painter, and Elisabeth Schärer. He studied painting inViennabetween 1724 and 1731, and then became a portraitist in the courts of southern Germany. In 1736, he returned to Zürich, where he painted members of the government and figures of theEnlightenment erasuch asJohann Jakob BodmerandFriedrich Gottlieb Klopstock. He also wrote and illustrated two dictionaries of Swiss painters and became well known as an art historian.[1] He married Elisabeth Waser, and they had 18 children.[2]Four of them later became known as painters:Johann Heinrich(""Henry Fuseli"", 1741–1825),Johann Kaspar(1743–1786), Elisabeth (1744–1780), andAnna(1749–1772). Johann Caspar Füssli died in Zürich in 1782. | |
| * _Geschichte und Abbildung der besten Mahler in der Schweitz_(""History and Illustration of the Best Painters in Switzerland""), 1754–1757. | |
| * _Füssli, Johann Caspar_ inGerman,FrenchandItalianin the online _Historical Dictionary of Switzerland_. | |
| * _Füssli, Johann Caspar_ inGerman,FrenchandItalianin the online _Historical Dictionary of Switzerland_. | |
| * ""Füssli, Johann (Hans) Kaspar (Caspar) (der Ältere)""._SIKARTLexicon on art in Switzerland_. | |
| * Johann Caspar Füssli(father) | |
| * Johann Kaspar Füssli(brother) | |
| This article about a Swiss painter is astub. You can help Wikipedia byexpanding it. | |
| * Swiss portrait painters | |
| * 18th-century Swiss painters | |
| Johann Caspar Füssli | |
| ",1.0 | |
| page_scrape,3.683821439743042,4.928840637207031,,,https://hisour.blogspot.com/2017/05/johann-caspar-fussli.html,2094.0,"### Johann Caspar Füssli | |
| Johann Caspar Füssli (Jan 3, 1706 - May 6, 1782) was a Swiss portrait painter.He was born in Zurich to Hans Rudolf Füssli, who was also a painter, and Elisabeth Schärer.He influenced the ideas of the Enlightenment, influenced by classicism, and lived in lively exchange with important artists and writers in France, Germany and Italy, among them Klopstock, Wieland, A.R. Mengs, Solimena, and J.J. Winckelmann. He studied painting in Vienna between 1724 and 1731, and then became a portraitist in the courts of southern Germany.In 1736, he returned to Zurich, where he painted the members of the Government and figures of the Enlightenment era such as Johann Jakob Bodmer or Friedrich Gottlieb Klopstock. He died in Zurich.In 1754-1757 he published the partly very subjectively held, three-dimensional story and depiction of the best Mahler in the Schweitz with 37 etchings of R. Füssli as imagery vignettes. 1769-1779, the work was again published in a completely revised version in five volumes titled History of the best artists in the Schweitz, together with their portraits, with 137 portraits made by various artists. As early as 1758, Füssli published the lives of the famous painters Rugendas and Kupetzky, whom he had met during his stay in southern Germany. In 1762 he moved A. R. Mengs' thoughts on beauty. In 1778 his story of Winckelmann's letters to his friends in Switzerland appeared as an epilogue to the edition of Winckelmann's letters by L. Usteri. Soon afterwards the extensive collection of Füssli's work led to the publication of the list of the most distinguished copper cutters and their works, the use of collectors and lovers (1771). After a long period of preparation, which was above all due to the quality of the figures, the knight Johann Carl Hedlinger followed a medal with a preface Füsslis and 80 plates in Mezzotinto technique. He married Elisabeth Waser, and they had the following children:Hans Rudolf FüssliJohann Heinrich Füssli, painterJohann Kaspar Füssli, painter and entomologisthttp://hisour.com/artist/johann-caspar-fussli/ | |
| ",2.0 | |
| page_scrape,3.6848502159118652,5.043686151504517,,,https://arthistorians.info/fuselih,7547.0,"* Johann Heinrich Füssli | |
| Painter and Royal Academy teacher; translator of German art histories and art historian. Fuseli, born Heinrich Füssli, was one of eighteen children (five living to adulthood) born to Johann Caspar Füssli (1706-1782), in later life a city clerk, and his wife, Anna Elisabeth Waser (Füssli) (1714-1759). His father devoted his life to art, painting portraits, writing on art and collecting master drawings and prints. The father’s correspondence with theorists such asJohann Joachim Winckelmannand artists inspired the young Heinrich; the elder Füssli’s _Geschichte der besten Künstler in der Schweitz_(History of the Best Painters in Switzerland) (2 vols. 1755-1757) may have been written or researched in part by his son. After home tutoring by his mother, Fuseli attended Caroline College, Zürich, studying literature, aesthetics, Greek, and Latin under Johann Jakob Bodmer (1698-1783) and Johann Jakob Breitinger (1701-1776). He gained a strong command of Greek and Latin. Fuseli was ordained a minister in 1761, according to his father’s wishes. In 1762 he and two colleagues issued a pamphlet accusing the corrupt Zürich magistrate Felix Grebel of graft and Fuseli was forced to flee to Prussia in 1763 to avoid retribution. There he met another Swiss expatriate, the art theorist and mathematician Johann Georg Sulzer (1720-1779). Fuseli assisted Sulzer with his book _Allgemeine Theorie der schönen Künste_(General Theory of the Fine Arts), 1773, published in 1774. In 1764 Sir Andrew Mitchell (1708-1771), the British _chargé d’affaires_ in Berlin, took Fuseli to London with the hopes that Fuseli would broaden British knowledge of German-language literature through writing and lectures. In England, Fuseli met the publisher Joseph Johnson (1738-1809) who provided him support through journalism and book illustrations. Fuseli translated one of the first serious art histories, Winckelmann’s 1755 _Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst_ , as _Reflections on the Painting and the Sculpture of the Greeks_ in 1765. A published poety, he entered the work of theory with his work,_Remarks on J. J. Rousseau_ , 1767, which endorsed Rousseau’s views on the separation of art and morality. He met Sir Joshua Reynolds in 1768, who urged him to return to painting, which he did, continuing his study of art literature as well. His translation of the _Delle virtù e dé premj_ , 1766, by Giacinto Dragonetti (1738-1818) appeared as _Treatise on Virtues and Rewards_ in 1769. After a disasterous house fire, Fuseli traveled to Rome in 1770 to study art further, though he did not take classes there. His Rome experience led him embrace the mannerists and Michelangelo, particularly their use of line and emotional, discarding the Winckelmann canon of cool classicism. Rome, too, afforded him multiple sexual forays, rendered, perhaps, in Fuseli’s erotic drawings, eventually purchased by art historianHerbert P. Hornefor his museum in Florence (Weinglass). Fuseli returned to England with a pause in Switzerland, 1778-1779. In Zürich, he fell deeply in love with the 21-year-old niece of the scientist Johann Caspar Lavater (1741-1801), Anna Landolt (Lavater) vom Rech, unrequited. He and his father brought out a book on selected Winckelmann letters,_Winckelmanns Briefe an seine Freunde in der Schweiz_. In London, Fuseli exhibited enough history paintings at the Royal Academy between 1780 and 1786 to establish him a reputation in this important genre. He also reacquainted himself with Reynolds, now the president of the Royal Academy. Fuseli’s most famous painting, “The Nightmare,” was painted during this time, bringing him celebrity status and eventual posthumous fame as a forerunner of Romanticism. A cycle of forty-one paintings devoted to Milton’s life and works in 1799 was a financial failure. During this time, he authored more than sixty anonymous critiques of books and exhibition reviews in _Johnson’s Analytical Review_(1788-1798). In 1788 Johnson published Fuseli’s translations of Lavater’s _Vermischte unphysiognomische Regeln_ as _Aphorisms on Man_ , heavily modified by Fuseli. William Blake met Fuseli around 1787 and became close friends, engraving occasional works for Fuseli. The same year, 1787, he was elected associate of the Royal Academy. Fuseli married Sophia Rawlins (1762/3-1832), a woman more than twenty years younger than him in 1788. About the same time Fuseli met the feminist writer Mary Wollstonecraft (1759-1797) who fell deeply in love with the painter, eventually approaching Fuseli’s young wife’s to share the man between them. Fuseli was elevated to Royal Academician in 1790 (though opposed by Reynolds) and professor of painting in 1799. His three lectures on painting were published in 1801. The final period in Fuseli’s life focused on teaching and formulating his art-historical ideas. A supporter of the French Revolution, he visited Paris in 1802 during the brief Peace of Amiens, visiting the Musée Napoleon and drafting a commentary for British visitors of the paintings looted from Italy as well as other pictures in the museum (present Musée du Louvre). The guide was never published. However, Fuseli revised and published a new edition of _Dictionary of Painters_ originally byMatthew Pilkingtonin 1805 and issued a radically reworked version in 1810. The new work was noted for its accuracy if occasional personalized view of art (Fuseli disparaged Albrecht Dürer, for example). In 1818 John Knowles (1781-1841)–his future biographer–collaborated with Fuseli in compiling the artist’s notes for the book,_Aphorisms on Art_ and a drafted of Italian Renaissance art history. In 1816 Fuseli, Sir Thomas Lawrence and John Flaxman were elected honorary academicians of the Accademia di San Luca at Rome, likely through the urging of Antonio Canova. He died at the home of the countess of Guilford at Surrey in 1825 and is buried in St. Paul’s Cathedral. Knowles’ posthumous biography included Fuseli’s _Aphorisms_ and _A History of Art in the Schools of Italy_. Fuseli’s painting students included the leading artists of the next generation, including John Constable, Edwin Landseer, William Mulready,Charles Robert Leslieand Benjamin Robert Haydon. Fuseli’s brother, Rudolf (1737-1806), named his son Johann Heinrich Füssli, who assumed editing a dictionary of painters after Rudolf’s death in 1806. Fuseli’s reputation as an important artist overshadows his work as an art historian and documenter of art. His “uncommonly tenacious visual memory helped him become one of the most perceptive art historians of the eighteenth and nineteenth centuries” (Weinglass). He introduced scores of new art-historical terms into English. Neither trained formally in studio or art history, Fuseli’s tastes could be uneven; he failed to recognize the worth of the Elgin marbles. | |
| translated, Winckelmann, Johann Joachim._Reflections on the Painting and Sculpture of the Greeks: with Instructions for the Connoisseur, and an Essay on Grace in Works of Art_. London: Printed for the Translator, and sold by A. Millar, 1765; and Sulzer, Johann Georg._Allgemeine Theorie der schönen Künste_. 5 vols. Leipzig: Weidemann & Reich, 1774 ; andFüssli, Johann Caspar._Winckelmanns Briefe an seine Freunde in der Schweiz_. Zürich: bey Orell, Gessner, Füesslin u. Comp., 1778; and Pilkington, Mathew._A Dictionary of Painters from the Revival of the Art to the Present Period_. London: J. Johnson, 1805; [reorganized ed,] London: J Walker, 1810. | |
| ",3.0 | |
| page_scrape,3.6858081817626953,4.512173414230347,,,https://www.theartstory.org/artist/fuseli-henry/,5534.0,"Swiss Painter and Writer | |
| Though it hardly holds its own against his most distinguished works, this pen and ink drawing provides an example of the many erotic drawings Fuseli produced throughout his life. Although many of the drawings were destroyed by his wife immediately following his death - particularly those in which she was depicted - a large number have survived. The drawings were distributed amongst friends and influential patrons and are considered a source of early, pre-photographic, pornography. This drawing is part of his _Symplegma_ series which he produced during his eight-year stay in Rome. The symplegma (erotic copulation) involved a man and two women, one of which would be a female servant, who, under the manners of the 18thcentury class system, would oblige the master and mistress of the house by ""providing excitement"" in fulfilling the couples' conjugal obligations. Fuseli's were very different to earlier erotic depictions in Western Art which were not as graphic in their illustration of the sexual act. Fuseli was in fact part of a wider libertine movement, which originated in France in the eighteenth century, and saw the widespread availability of erotic etchings. Fuseli's erotic pictures saw him join the ranks of eminent artists including Jean-Frédéric Schall, Jean-Antoine Watteau and Jean-Honoré Fragonard all of whom explored the limits of eroticism in art. | |
| Fuseli was introduced to the poetry of John Milton during his student days in Zürich by the Swiss scholar Jacob Bodmer. Milton's epic poem,_Paradise Lost_ held a special appeal for him given that it explores the realms of the imagination, dreams, and the supernatural. This painting depicts the moment in Milton's poem that compares the fallen angels in the Hall of Pandemonium in Hell to the fairies who bewitch a passing peasant with the sound of their music and dancing. The fairies are shown dancing above the sleeping shepherd with one fairy touching the shepherd with a dream-inducing wand. In the bottom left-hand corner, a witch has just pulled a flowering mandrake out of the ground, and in the right-hand corner, Queen Mabs, queen of the fairies and wife of Oberon who is described as the one who reveals to sleeping men their unutterable desires. While a naked fairy combs her hair, a grotesque child is chained to Queen Mabs pointing to the shepherd. The interpretation given by Fuseli confirms an erotic fantasy which is reminiscent of his erotic drawings. This work is further evidence of Fuseli's dramatizations of literary texts. He was able to rely solely on his powers of imagination and as such he very self-consciously moved away from the traditional genre of history paintings where viewers judged the painting on its historical or biblical accuracy. This painting was one of a series he made for Fuseli's Milton Gallery which he established in Pall Mall, London, in an attempt to emulate Boydell's Shakespeare Gallery. The Milton Gallery proved a commercial disaster and might have hastened Fuseli's decision to pursue a more academic career path. | |
| Johann Heinrich Füssli (known as Henry Fuseli) was born in Zürich on February 7th, 1741. He was the second of 18 children born to the Swiss portrait painter, Johann Caspar Füssli and his wife, Anna Elisabeth Waser. Caspar was a collector of sixteenth and seventeenth century Swiss art and passed his appreciation of fine art onto his son. Indeed, Fuseli's father introduced him to the ideas of the art historian Johann Joachim Winckelmann and the German painter Anton Raphael Mengs both of whom shared an enthusiasm for classical antiquity and an unwavering commitment to the values ofNeoclassicalpainting. | |
| Fuseli spent many hours making sketches of the drawings in his father's collection, a practice he continued well into his teens. His father, somewhat surprisingly given his own profession, disapproved of Fuseli's artistic ambitions. He decreed that his son should train to become a Minister of the Church and arranged for him to obtain a classical education at the Caroline College of Zürich. Once enrolled, Fuseli studied with the influential literary critics J.J. Breitinger and J.J. Bodmer who between them introduced him to the literary works of Milton and Shakespeare. Bodmer was also an early champion of Fuseli's interest in painting. It was while at Caroline College that Fuseli met Johann Kaspar Lavater, the Swiss poet and theologian, with whom he formed a close and lasting friendship. | |
| While residing in London, Fuseli metSir Joshua Reynolds, first president of the Royal Academy, to whom he showed his drawings. Reynolds admired the Swiss's draughtsmanship and encouraged him to further his studies in Italy. Arriving in Rome in 1770, Fuseli fell in with a like-minded group of English and Continental artists which included Alexander Runciman, Johan Tobias Sergei, and Nicolai Abildgaard. His studies took in the works ofMichelangeloand theMannerists, as well as Greek and Roman antiquities. His Roman studies would have a major influence on his later work, particularly in his ability to enhance the drama in his pictures by foreshortening figures and by usingchiaroscuroand a means of distortion. It was while in Italy that he also changed his name from the German spelling of Füssli to the Italian, Fuseli; an act of deference (to Italy) that helped him assimilate with his newly adopted country. Despite his artistic studies, however, he remained devoted to literature, a passion which continued throughout his life. | |
| Johann Kaspar Lavater | |
| ",4.0 | |
| page_scrape,3.686779022216797,7.017168045043945,,,https://quizlet.com/508242058/unit-3-research-quiz-fuseli-flash-cards/,263.0,"Johann Caspar Füssli, Swiss portrait painter. | |
| Johann Caspar Füssli, Swiss portrait painter. | |
| niece of the Zurich physiologist Johann Caspar Lavater (a friend of Fuseli's) and she was also his former lover. Anna Landolt. | |
| he met her through a friend, Johann Lavater | |
| ",5.0 | |
| page_scrape,6.787126064300537,7.8103556632995605,,,https://en.wikipedia.org/wiki/File:Johann_Caspar_F%C3%BCssli_1765.jpg,369.0,"DescriptionJohann Caspar Füssli 1765.jpg **Deutsch:** Anton Graff: Porträt des Johann Caspar Füssli, 1765. Öl auf Leinwand; 75,5 x 61,5 cm. **English:** Anton Graff: Portrait of Johann Caspar Füssli, 1765. Oil on canvas; 75,5 x 61,5 cm. | |
| * Johann Caspar Füssli | |
| * Wikipedista:Aloysius/Johann Caspar Füssli | |
| * Autore:Johann Caspar Füssli | |
| File:Johann Caspar Füssli 1765.jpg | |
| ",1.0 | |
| page_scrape,6.88764762878418,9.797053575515747,,,https://en.wikipedia.org/wiki/Johann_Kaspar_F%C3%BCssli,902.0,"Johann Kaspar Füssli | |
| **Johann Kaspar Füssli** , also written**Johann Caspar Fuesslin** , or**Fuessly**(9 March 1743 – 4 May 1786), was aSwisspainter,entomologistandpublisher. | |
| He was born inZurich, the son ofJohann Caspar Füssli(1706–1782) and Anna Elisabeth Waser. He was thus the brother ofHenry Fuseli(Johann Heinrich Füssli, 1745–1825). He married twice: to Verena Störi in 1770, and Anna Elisabeth Kilchsperger in 1774. | |
| * Fuessly, Johann Caspar (1778)._Magazin für die Liebhaber der Entomologie Vol. 1_. Bey dem Herausgeber und bey Heinrich Steiner. | |
| * Fuessly, Johann Caspar (1779)._Magazin für die Liebhaber der Entomologie Vol. 2_. Bey dem Herausgeber und bey Heinrich Steiner. | |
| * _Johann Kaspar Füssli_ inGerman,FrenchandItalianin the online _Historical Dictionary of Switzerland_. | |
| * Johann Caspar Füssli(father) | |
| * Johann Kaspar Füssli(brother) | |
| * 18th-century Swiss painters | |
| Johann Kaspar Füssli | |
| ",1.0 | |
| page_scrape,7.613152027130127,8.488024473190308,,,https://www.theartstory.org/artist/parmigianino/,16273.0,"With the possible exception of his nemesisCorreggio, Parmigianino was the leading painter of Palma; an eccentric, but technically adept virtuoso who also worked in Rome and Bologna. He ranks as one of the most compelling artists, showing a true artistic daring in a readiness to confront the orthodoxies of the day and a leading exponent of the exaggeratedManneriststyle. Defying the naturalistic approach of the great masters of theHigh Renaissance(namelyLeonardo,MichelangeloandRaphael) some have viewed the rhythmic sensuality of his figures as an effort to translate the feeling of spiritual uncertainty that was a by-product of this most turbulent period of Italian history. His was, however, a short career (Parmigianino died in his thirties) but in that time he produced a substantial body of work featuring drawings and paintings of the profane and the sacred, often tinged with a feel for ethereal and the erotic. | |
| * Part of Parmigianino's legacy was his incursion into the field of printmaking. The feature of graceful elegance in his painting transferred in fact to Parmigianino's drawings. Indeed, he was one of the first Italian painters to venture into etching, using the etching needle with the same (if not more) freedom he used with his pen. He would use etchings to reproduce earlier drawings creating high demand for his graphic work both domestically and abroad. | |
| Parmigianino's earliest self-portrait - casually (but unjustly) dismissed by Renaissance historian Cecil Gould as ""a witty visual conceit, typical of its century"" - was a meticulous and radical composition using a curved mirror from a barber's studio; the painter carefully copying everything visible in the glass onto a convex panel of poplar wood he made specifically for the purpose. In their attempt to step out from the long shadow cast by the masters of the High Renaissance, the Mannerists challenge the idea of compositional harmony and were intent rather on exploring different perspectives and unusual spatial relations within the frame. Here, for instance, the drawing hand swings and flexes through the foreground of the globed composition, making it appear large and domineering, whilst the angelic delicacy of the boy-artist's face is allowed to recede into a kind of calm power in the mid-ground. Parmigianino's meticulous eye is evident at this early stage in details like the wood-panelling in the roof, the diamond-hatch leading of the window design, the frost or dust on the pane, and the play of light on the boy's ring (betraying an early glimmer, perhaps, of his later obsession with gold and alchemy). The entire picture is lit by daylight originating from the window in the back-left, but then reflected from the mirror-surface back onto the boy's hand and face. In this sense, the painter seems to be lit supernaturally, or from within. Or, equally, the effect is as though he is lit by something beyond the frame, on the spectator's side of the frame. The boards and panels and doorways of the artist's home in Parma are visible in the background even as they seem to shy away in the distorted frame (the Renaissance painters, incidentally, had used mirrors as a tool for eradicating distortions), giving them a demur, intimate feel. The historian Sydney J. Freedberg calls the picture a ""bizarria"", albeit one achieved through meticulous ""realism"". For him, the ""gentleness and unaffected grace"" of the painter's expression is a necessary offset for the ""capricious and bizarre"" method of composition, so that the whole harmonizes in a way that is strangely true to High Renaissance ideals even whilst totally rejecting them in a Mannerist _trompe-l'oeil_. The painting's fame was endorsed by the American poet John Ashbery whose long poem,_Self Portrait in a Convex Mirror_ was the title poem for a collection that earned him a Pulitzer Prize, a National Book Award and a National Book Critic's Circle Award in 1976. The poem, considered by many to be Ashbery's best, and from which the following excerpt is taken, is a mediation on Parmigianino's painting:_The glass chose to reflect only what he saw_ _Which was enough for his purpose: his image_ _Glazed, embalmed, projected at 180-degree angle.__The time of day or the density of the light_ _Adhering to the face keeps it_ _Lively and intact in a recurring wave_ _Of arrival. The soul establishes itself.__But how far can it swim out through our eyes_ | |
| According to Gould, this picture ""is Parmigianino's most famous [and] also his most characteristic and most extreme"". That a single work can be simultaneously his most 'extreme' and his most 'characteristic' hints at the kind of visionary artist Parmigianino was. The elongated figure of the Madonna is a stunning realization of those two words most often associated with Parmigianino: grace and elegance. The assemblage of the various limbs and their angles in relation to one another is as harmonious as it is erotically charged; and as balanced as it is asymmetrical. The painting certainly garnered the consent of E. H. Gombrich who, in _The Story of Art_ , suggested that his goal, and that of other Mannerists, was to create something ""more interesting and unusual"" than that of the former generation of Italian masters. Gombrich argued moreover that Parmigianino (as part of the Mannerist movement) might even be grouped amongst the first truly ""modern"" painters because he ""sought to create something new and unexpected, even at the expense of 'natural' beauty [as] established by the great masters"". Gombrich agreed with Gould in the suggestion that the artist's goal was to imbue the Madonna with grace and elegance, and in his attempts to do so, Parmigianino painted her in a ""strangely capricious way,"" with ""long delicate fingers"" and with an elongated neck ""like that of a swan."" Other compositional innovations stand out too. The twinning of the planted right leg of the angel in the left foreground with the monumental marble pillar collapses the painting's depth into a narrow and immediate aperture. The elongated and stylised infant Christ stretches across the scene, joining interior and exterior; flesh and the ether. The bottom third of the panel meanwhile seems striped in alternate marble-white and deep-blue, symbolising both the innocence and the royalty of the Divine Mother and Child. The figure of St Jerome and the scroll is relegated to an odd and arresting position, the de Chirico-esque architectural landscape, combined with the fact that the figure (added later) is faded and translucent, and also the fact that a disembodied foot (to the left of St. Jerome) remains from an earlier rendering, gives the painting a somewhat surreal edge. The painting then retains some of the ""violent asymmetry"" that Gould observes in its preparatory sketches, and though it might be a radical statement at this point in the history of devotional art, just ""One step farther in this same direction"", argued Freedberg, and ""we should fall either into vapidity or hysteria""). Freedberg's point was that, though highly idiosyncratic, Parmigianino's instincts had known when to kerb his creative indulgences. Gombrich summed it up best perhaps when he said of _Madonna dal Collo Longo_ ""if this be madness there must be method in it."" | |
| Girolamo Francesco Maria Mazzola was born in Parma somewhere towards the beginning of 1503. It was only retrospectively, once he had gained his substantial reputation during the middle-period of the Italian Renaissance in fact, did he become known as Parmigianino - ""little one of Parma"". He was born the fourth child to Donatella Abbati and the painter Filippo Mazzola. Before his second birthday, his father succumbed to the plague and died, aged 45, leaving the young Parmigianino to be raised by his mother and his two uncles, Pier and Michele Ilario, themselves artisanal painters. Indeed, painting was the family business and Filippo had been well-known in his provincial sphere. Sadly, so far as the family business was concerned, Filippo's brothers' abilities were considered somewhat modest by comparison. | |
| From an artistic point of view, the city of Parma was not well placed during the early part of the 16thCentury. The city was well known for itsRomanesquearchitecture and design but Parma was unable to boast any painters of note during the years of the High Renaissance. Indeed, in cases where fresco-work was required, painters were brought in from elsewhere. As well as the plague, the wars between Papal, German-Imperial, and French forces unsettled northern Italy at this time too. Battle-zones moved constantly through the area, shifting and re-shifting centers of power, and displacing families like Parmigianino's. Isolated by events beyond his control, in an artless town far removed from Renaissance centres like Florence and Rome, Parmigianino was torn between becoming aware of his own audacious talent, and striving to match the seemingly insurmountable achievements of figures like Raphael and Michelangelo. It seems reasonable to surmise that Parmigianino's role in the development of the Mannerist style - pushing High-Renaissance ideals of balanced form and mathematical realism towards a less composed, more vivid style - owed something at least to his childhood ambivalence towards early-16th-century Italian culture. | |
| According to Giorgio Vasari, the famous chronicler of Renaissance painters' lives, the young and restless Parmigianino furtively produced sketches during his first writing lessons. His teacher and his uncles recognised that the boy had become heir to his father's talent and so trained him in drawing. Reports vary, but somewhere between the ages of 14 and 16 he produced his earliest extant painting,_Baptism of Christ_(c.1519). The painting showed details that would become characteristic of his mature work: a tumbling Etruscan landscape, a glowing treatment of skin lit from unnatural sources and figures of accentuated grace and elegance. The painting was crude and amateurish, and almost certainly includes contributions from one or both of his uncles, but it also bears witness to the early motions of a mind and hand that would be crucial in defining the later stages of Renaissance art and the Mannerist school beyond. | |
| On the strength of his earliest works, and due in part to the efforts of his uncles, Parmigianino was contracted to complete the frescoes inside Parma's church of San Giovanni Evangelista, working alongside two painters who had settled in the city. One, Anselmi, had arrived in Parma from Siena a few years earlier, and would at the time have been the most talented painter the boy had ever known. It's likely that Anselmi would have been the defining influence on Parmigianino were it not for the arrival, around 1520, of the second painter: Antonio Allegri, better known as Correggio. The young boy experienced something like trauma when he saw Correggio's completed cupola at San Giovanni Evangelista. If we are to believe Parmigianino biographer and critic Cecil Gould, ""an indefinable mixture of admiration, envy, and resentment of Correggio's greatness was to be perhaps the chief emotion of Parmigianino's life"". | |
| Correggio's frescoes at San Giovanni earned him a flurry of commissions in the area, and so he took up residence in Parma. Parmigianino's work was however interrupted in the early 1520s when ongoing conflicts between the Empire and the Church convinced his uncles to depart for the town of Viadana. Parmigianino's time in this even more remote town appears to have been relatively productive. This may be down to the fact that he was joined in Viadana by Girolamo Bedoli, a gifted painter from his uncles' studios who was betrothed to Parmigianino's cousin. | |
| Aged just 21, Parmigianino arrived in Rome with his distorted self-portrait,_Self-Portrait in a Convex Mirror_ in 1524, just as the Renaissance cusped into what is now known as its ""post-peak"" phase. It is possible, judging by certain pictorial and compositional elements which Parmigianino began to explore, that he arrived in Rome via Florence where he briefly met Michelangelo. However, the dominant problem for all aspirational painters was how to follow the masters of the High Renaissance who seemed to have perfected compositional form; to have truly captured earthly beauty; and to have expressed religious visions so consummately. Though his painting style had become more finished, the question of how best to apply his notable talents still brought Parmigianino considerable inner turmoil. | |
| In 1527, Imperial forces of Charles V sacked Rome, raiding houses, murdering and raping civilians, and claiming the city for the Holy Roman Empire. Parmigianino, rapturously absorbed in painting his _Madonna and Child with the Baptist and St Jerome_(c.1527), was oblivious to the uproar. German troops stormed his residence and found him in his studio. Mythology tells it that the troops froze, stunned by the angelic beauty of the young painter's face, the innocent intensity of his concentration, and the supernatural light of the painting itself. They could not bring themselves to harm either the artist or his work, and instead kept him in their employ for some months, producing pictures and portraits. Eventually, Parmigianino would escape Rome with the help of his uncle. Their plan was to make once more for Parma, but the painter found a temporary home in Bologna instead. | |
| Having already witnessed the sack of Rome, fate had it that Parmigianino was to be present at another great historical moment. In 1530, whilst the painter was still resident in Bologna, Charles V was crowned Holy Roman Emperor by Pope Clement VII in the city. This marked the final time that an Emperor would be crowned by a Pope. Charles is remembered as the first ruler whose domain was described as ""the empire on which the sun never sets"". Parmigianino was present at the banquet and based on his sighting of the new Emperor, Parmigianino painted an unorthodox and fascinating portrait. Despite its strange energy and flashing brushstrokes, it pleased Charles very much. Unfortunately for the painter, this interaction would go down in posterity as yet another missed opportunity. Reportedly, on the ill-advice of a friend, Parmigianino took the portrait back, saying it was unfinished. He never re-presented it to Charles. The payment and subsequent commissions which would surely have otherwise followed were unforthcoming. | |
| Upon returning to Parma in 1531, Parmigianino stayed briefly in his family home with his uncle Pier. He and Pier no longer saw eye-to-eye however and his daughter and her husband, the painter Girolamo Mazzola Bedoli, were now the focus of his patronage and hospitality. Soon thereafter Parmigianino took up a solitary and separated residence for the final phase of his short life. | |
| In his paintings, Parmigianino's figures are often their own light-source, much as he himself was essentially self-taught, never formally apprenticed. He is a strange and singular figure whose influence stretches far. There was likely some cross-pollination withCorreggio, but more importantly his elongated Madonnas and saints were the first trulyManneristfigures, and very directly influencedEl Greco,Tintoretto, Benvienuto Cellini, and others from the Mannerist school. The young painter's willingness to begin deconstructing the formal perfection of his early-Renaissance predecessors was a subtle but seismic shift in the history of art, and paved the way for further innovations in the years following the High Renaissance. Parmigianino is also attributed with being amongst the very first Italian etchers. His work influenced artists such as Andrea Schiavone, who learned to etch directly from Parmigianino's prints, and Battista Franco, who would go further in their experiments with etching techniques. Though his unorthodoxy and his strange passions perhaps cost him in terms of patronage and reputation during his own lifetime, his legacy is that of an innovator, a true original whose importance endures right up to the contemporary moment. | |
| By David Ekserdjian (2006) / Exhaustive catalogue of the history and influences behind all of the painter's works, including the most in-depth and thorough analysis available of Madonna of the Long Neck | |
| ",4.0 | |
| page_scrape,7.615735292434692,8.24504542350769,,,https://hisour.blogspot.com/2017/05/john-caspar-wild.html,2876.0,"### John Caspar Wild | |
| John Caspar Wild (Jul 1, 1804 - Aug 12, 1846) was an American painter and lithographerJohn Caspar Wild was born in Richterswil, Canton Zürich, Switzerland He moved to Paris, France In 1832 he moved to Philadelphia, Pennsylvania Wild's final home was Davenport, Iowa, a small town in the upper Mississippi river valley.He created early city views and landscapes of Philadelphia, Cincinnati, Ohio, St Louis, Missouri, and Davenport, Iowa He specialized in hand-colored lithographs These views, particularly the Valley of the Mississippi Illustrated were some of the first depictions of the American WestJohn Caspar Wild, expert painter and lithographer, produced some of the earliest known depictions of urban America in the nineteenth century. His paintings and prints of Philadelphia; Cincinnati; St. Louis; and Davenport, Iowa, among others, stand as valuable historical records of these cities in an era before large-scale industrialization changed their character.The American career of John Caspar Wild began in 1832, when he arrived in Philadelphia from Paris to work as a painter, lithographer, and print colorist. Moving on to Cincinnati, he produced splendid paintings of that city’s skyline, its bustling river landing, and the impressive buildings at four of its major street corners.Wild returned to Philadelphia to publish a series of townscapes, then moved to St. Louis and finally to Davenport, Iowa. In all these cities he recorded their appearance during a period of rapid growth. Wild also recorded on canvas and stone such neighboring towns as St. Charles and Carondelet, Missouri; Alton, Kaskaskia, Moline, and Galena, Illinois; and Muscatine and Dubuque, Iowa. These images, like all of his separately issued lithographs, are extremely rare and today can be found in only a few institutions.He moved there from St Louis in the summer of 1844 Wild fell gravely ill with Tuberculosesin the summer of 1846 and he was taken in by Davenport, Iowa millinery businessman George L WebbOn his death bed, Wild reflected upon his childhood and he yearned to die in his Swiss homeland; it was a wish that was to not be fulfilledWild died on August 12, 1846Wild was laid to rest nearly on the banks of the River which he had painted for years Wild’s grave site was unmarked for decades John Caspar Wild's illustrated book presents Wild's paintings and prints for all to appreciate, and a catalogue raisonné identifies all of his known works. The author draws on his previous writings about Wild—themselves based on specialized studies by earlier scholars—and adds much new information about the artist’s early years in Philadelphia and his accomplishments elsewhere. This talented but largely ignored artist who died well over a century and a half ago is thus at last provided the recognition he deserves.http://hisour.com/artist/john-caspar-wild/ | |
| ",2.0 | |