sabato
venerdì
:: González Y Serrano, Bartolomé...
GONZÁLEZ Y SERRANO, Bartolomé
(b. 1564, Valladolid, d. 1627, Madrid)
Biography
Spanish painter. He spent his early years in Valladolid and Madrid. According to Palomino, he was trained with Patricio Cajés, but also important was the influence of Italian Mannerism at the court (1600-06) of Philip III in Valladolid. Knowledge of naturalistic works by such Italians as Orazio Borgianni, with their monumental forms and chiaroscuro, also determined González's style, especially as a religious painter. González is first documented in 1606, after which he worked for the court in Burgos, Lerma, El Pardo and El Escorial. In 1608 he witnessed the will of the court portraitist, Pantoja de la Cruz, who died that year. González succeeded Pantoja de la Cruz in the completion of the royal portaits for the gallery of the palace of El Pardo, which replaced those destroyed by fire in 1604. One of his earliest known portraits is that of Margaret of Austria (1609; Madrid, Prado), which shows the influence of Pantoja de la Cruz.
martedì
:: Falcone, Aniello...
FALCONE, Aniello
(b. 1607, Napoli, d. 1656, Napoli)
Biography
Neapolitan painter. He was one of the most prominent artists in Naples in the generation before the plague of 1656 (in which he died), and did religious paintings, some in fresco, for several churches in the city. His only complete surviving fresco cycle, however, is the History of Moses in the Villa Roomer at Barra, and he is now remembered mainly as the first specialist in battle pieces, a genre that won him an international reputation and in which he inspired his pupil Salvator Rosa. Falcone was also an outstanding draughtsman.
:: Fabritius, Barent...
FABRITIUS, Barent
(b. 1624, Midden-Beemster, d. 1673, Amsterdam)
Biography
Dutch painter and draughtsman, brother of Carel Fabritius. Like Carel, he was first taught painting by his father, also learnt carpentry and practised as an artisan in Midden-Beemster in 1641. He is documented in Amsterdam in 1643 and 1647, though it is not known if, like his brother, he was also a pupil of Rembrandt. Nevertheless, his style is similar to that of the Rembrandt school. He must have been trained in the second half of the 1640s. His work is reminiscent of the style of his brother, who clearly influenced and may also have instructed him.
In 1652 Barent lived in Amsterdam and married Catharina Mussers in Midden-Beemster. In the following years he is documented alternately in Midden-Beemster and Amsterdam. He painted a group portrait of the town master builder, Willem Leenderstsz. van der Helm and his Family (1656; Amsterdam, Rijksmuseum), in Leiden, and in 1660-61 he received further commissions for the Lutheran church in Leiden.
From 1669 Barent lived with his family in Amsterdam, where he died at the age of 49. He was buried in the churchyard in Leiden that was usually reserved for the poorer inhabitants of Amsterdam. He left behind a wife, who lived until 1701, and six children.
:: Frémin, René...
FRÉMIN, René
(b. 1672, Paris, d. 1744, Paris)
Biography
French sculptor. A pupil of François Girardon and Antoine Coysevox, he won the Prix de Rome in 1694 and spent the years 1695-99 in Rome, where he contributed two elegant Baroque bronze bas-reliefs, from drawings by Andrea Pozzo, to the sculptural ensemble of the altar of S Ignazio in Il Gesu (in situ). On his return to France he was approved (agréé) by the Académie Royale in 1700 and received (reçu) as an academician the following year on presentation of the bas-relief Time Unveiling Truth (marble; frags, Paris, École Nationale Supérieure des Beaux-Arts). At the Salon of 1704 he exhibited an ambitious stone group of Hercules Abducting Deianera (Chantilly, Château, park), which recalls the great groups of Giambologna and Gianlorenzo Bernini as well as the sculpture of Versailles.
He was invited to work at La Granja by the Spanish king, Philip V, Louis XIV's grandson, and left France in 1721, finally returning only in 1738, having accumulated a large fortune. His finest achievements lie in Spain, chiefly in the gardens of La Granja, near Segovia. Fremin's work at La Granja was considerable. His task was to adorn a transplanted Versailles, in a much more rewarding natural setting, with a constant supply of vases, avenues of statues, and elaborate groups for fountains, often in the medium of lead. Before leaving France he had gained experience working in lead and in a comparable decorative idiom for Marly and for Versailles itself.
:: Feuchtmayr, Joseph Anton...
FEUCHTMAYR, Joseph Anton
(b. 1696, Wessobrun, d. 1770, Wessobrun)
Biography
German Rococo stuccoist and sculptor, the most famous member of a family of artists from Wessobrun in Bavaria. A virtuoso carver and stuccoist, he did a great deal of decorative work for buildings in the Lake Constance area. The greatest ensemble of his works is in the pilgrimage church of Neu-Birnau (1746-53); it includes his most famous figure, the Honey-licking Putto.
:: Longhi, Pietro...
LONGHI, Pietro
(b. 1702, Venezia, d. 1783, Venezia)
Biography
Italian painter, the son of a goldsmith (his real surname was Pietro Falca), Pietro Longhi tried without much success to become one of the group of eighteenth-century Venetian painters so much in demand for large-scale decorations. His youthful work included frescos in the Palazzo Sagredo which reveal his lack of talent in this field. But at about the age of 40, Longhi managed to find his own creative voice which soon made him a specialist in a highly successful new genre. Drawing on his memories of youthful studies with Giuseppe Maria Crespi (an important precursor to Longhi's brand of genre painting), he began painting small canvases on everyday subjects, showing real places and people.
Unlike most view-painters at the same time, normally forced to seek foreign patrons, Longhi mainly worked for local patrons and collectors, including the noble families of Grimani, Barbarigo, and Manin. Longhi prepared his work by making careful preparatory sketches. He concentrated almost exclusively on small-scale canvases depicting the modest day-to-day activities of aristocratic Venetian families. The wonderful amiability of these episodes of no earth-shaking importance is marked by an observant, often gently satirical touch. The playwright Goldoni called Longhi a "man seeking the truth", but his was not a very harassing quest.
In later life Longhi also produced two interesting cycles of paintings. One was a series showing the Seven Sacraments while the other depicted Hunters in the valley. Both are now in the Pinacoteca Querini-Stampalia in Venice.
Longhi occasionally painted more than one version of his own compositions, and these again were often duplicated by pupils and followers. Alessandro Longhi (1733-1813), the son of Pietro, was a successful portraitist.
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