Francesco Albani

From Wikipedia, the free encyclopedia

Early years in Bologna

Born at 1572 Bologna, his father was a silk merchant who intended to instruct his son in the same trade; but by age twelve, Albani became an apprentice under the competent mannerist painter Denis Calvaert, where he met Guido Reni. Soon he followed Reni to the so-called "Academy" run by the Carracci family: Annibale, Agostino, and Ludovico. This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi, Pietro Faccini, Remigio Cantagallina, and Reni.

Mature work in Rome

Francesco Albani

In the year 1600, Albani moved to Rome to work in the fresco decoration of the gallery of the Palazzo Farnese, being completed by the studio of Annibale Carracci. Rome, under Clement VIII Aldobrandini (1592-1605) was exhibiting some degree of administrative stability and renewed artistic patronage. While pope Clement was born from a Florentine family residing in Urbino, his family was allied by marriage to the Emilia-Romagna and the Farnese, since Ranuccio I Farnese, Duke of Parma had married Margherita Aldobrandini. Parma, like Bologna, are part of the Region of Emilia-Romagna. Thus it was not surprise that Cardinal Odoarde Farnese, Ranuccio's brother, chose the Carraccis from Bologna for patronage, thereby establishing Bolognese predominance of Roman fresco painting for nearly two decades.

Albani became one of Annibale's most prominent apprentices. Using Annibale's designs and assisted by Lanfranco and Sisto Badalocchio, Albani completed frescoes for the San Diego Chapel in San Giacomo degli Spagnoli between 1602-1607. In 1606-7, Albani completed the frescoes in the Palazzo Mattei di Giove in Rome. He later completed two other frescoes in the same palace, also on the theme of Life of Joseph.

In 1609, he completed the ceiling of a large hall with Fall of Phaeton and Council of the Gods for the Palazzo Giustiniani (now Palazzo Odescalchi) at Bassano (di Sutri) Romano. This work was commissioned by the Marchese Vicenzo Giustiniani, famous for also being patron to Caravaggio.

During 1612-14, Albani completed the Choir frescoes at the newly remodeled (by Pietro da Cortona) church of Santa Maria della Pace. In 1616 he painted ceiling frescoes of Apollo and the Seasons at Palazzo Verospi in Via del Corso for the cardinal Fabrizio Verospi.

In later years, Albani developed a mutual, though respectful, rivalry with the more successful Guido Reni, who was also heavily patronized by the Aldobrandini, and under whom Albani had worked under at the chapel of the Palazzo del Quirinale.

Albani's best fresco masterpieces are those on mythological subjects. Among the best of his sacred subjects are a St Sebastian and an Assumption of the Virgin, both in the church of San Sebastiano fuori le Mura in Rome. He was among the Italian painters to devote himself to painting cabinet pictures. His mythological subjects include The Sleeping Venus, Diana in the Bath, Danaë Reclining, Galatea on the Sea, and Europa on the Bull. A rare etching, the Death of Dido, is attributed to him. Carlo Cignani, Andrea Sacchi, Francesco Mola, and Giovanni Francesco Grimaldi were some of his students. On the death of his wife he returned to Bologna, where he married a second time and resided till his death.

Legacy

Albani never acquired the monumentality or tenebrism that was quaking the contemporary world of painters, and in fact, is derided often for his lyric, cherubim-filled sweetness, which often has not yet shaken the mannerist elegance. While Albani's thematic would have appealed to Poussin, he lacked the Frenchman's muscular drama. His style sometimes appears to befit the decorative Rococo more than of his time.

Among the pupils of Albani were his brother Giovanni Battista Albani, and others including Giacinto Bellini, Girolamo Bonini, Giacinto Campagna, Antonio Catalani, Carlo Cignani, Giovanni Maria Galli, Filippo Menzani, Andrea Sacchi, Andrea Sghizzi, Giovanni Battista Speranza, Antonio Maria del Sole, Emilio Taruffi, and Francesco Vaccaro^[1].

Major works

• Frescoes in Hall of Aeneas -Palazzo Fava, Bologna
• Frescoes in Oratory of San Colombano - Bologna
• Frescoes in Hall of Aeneas (1601-1602) - Palazzo Doria Pamphilj, Rome
• Frescoes for San Giacomo degli Spagnoli (1602-1607) - Museo del Prado and in Museum of Barcelona
• Holy Family with Angels (1608-1610) - MFA, Boston
• Allegorical canvases of the seasons Spring,Summer,Fall and Winter (1616-1617) - Galleria Borghese, Rome
• Baptism of Christ (c. 1620) - Oil on canvas, 428.5 x 224.5 cm, Pinacoteca Nazionale di Bologna
• Diana and Actaeon (1625-1630) - Oil on wood transferred to canvas, 74,5 x 99,5 cm, Gemäldegalerie, Dresden
• Four Elements (1628-1630) - Pinacoteca, Turin
• Holy Family with Angels (1630-1635) - Oil on canvas, 57 x 43 cm, Palazzo Pitti, Florence
• Self-Portrait (c. 1630) - Oil on canvas, 75 x 59.5 cm, Pinacoteca Nazionale di Bologna
• Venus Attended by Nymphs and Cupids (1633) -Oil on canvas, 114 x 171 cm, Prado, Madrid)[1]
• Annunciation (1633) - Chiesa di S.Bartolomeo, Bologna
• The Annunciation - Oil on copper, 62 x 47 cm, Hermitage, St. Petersburg[2]
• Madonna with Child in Glory with Sts. Jerome and Francis (c. 1640) - oil on copper, 43.5 x 31.8 cm, Pinacoteca Nazionale di Bologna
• The Baptism of Christ (c. 1640) - Oil on canvas, 268 x 195 cm, Hermitage, St. Petersburg
• The Rape of Europa (c. 1640-1645) - Oil on canvas, 170 x 224 cm, Hermitage, St. Petersburg
• Annunciation (c. 1640-1645) - Oil on copper, 62 x 47 cm, Hermitage, St. Petersburg
• The Holy Women at Christ's Tomb (1640s-1650s) - Oil on canvas, 170 x 224 cm, Hermitage, St. Petersburg
• Danza degli amorini - Pinacoteca di Brera, Milan
• Tondo Borghese - Galleria Borghese, Rome
• Tasso's landscapes - Galleria Colonna, Rome
• 'Frescoes - Chiesa di Santa Maria di Galliera

Works at the Louvre, Paris

• • Acteon Metamorphosis into Hind
  • Adonis led by Cupids to Venus (1600)
  • Diana and Acteon and Venus and Adone
  • Apollo and Daphne
  • The Bath of Venus
  • Christ appears to Mary Magdalen
  • Rest of Venus
  • Holy Father and Archangel Gabriel
  • Venus disarms Cupids
  • Saint Francis of Assisi before Crucifix
  • Salmacis and Hermaphrodite
  • Nativity

References

• Wittkower, Rudolf (1993). Art and Architecture Italy, 1600-1750. Penguin Books, Pelican History of Art. pp. 78–80, 82–83.
• This article incorporates text from the Encyclopædia Britannica, Eleventh Edition, a publication now in the public domain. The article is available here.

Notes

1. ^ *Hobbes J.R. Page 3

External links

• Francesco Albani in the "History of Art"}

Adonis Led by Cupids to Venus.jpg

Autumn

Diana and Actaeon

Holy Family

Spring

Summer

The Annunciation

Venus Attended by Nymphs and Cupids

Winter

Ivan Constantinovich Aivazovsky

From Wikipedia, the free encyclopedia

Հովհաննես Կոստանդինի Այվազովսկի Ivan Konstantinovich Aivazovsky Иван Константинович Айвазовский
The portrait of Ivan Aivazovsky, by Aleksey Tyranov, 1847
Born	July 29, 1817(1817-07-29) Feodosiya, Crimea
Died	May 5, 1900 (aged 82) Feodosiya, Crimea
Nationality	Armenian
Field	Painting, Drawing
Movement	Romanticism

Ivan Konstantinovich Aivazovsky (Ukrainian: Іва́н Костянти́нович Айвазо́вський, Russian: Иван Константинович Айвазовский, Armenian: Հովհաննես Այվազովսկի - Hovhannes Aivasovsky, originally Aivazian) July 29, 1817 – May 5, 1900) was a painter of Armenian descent living and working Crimea, most famous for his seascapes, which constitute more than half of his paintings.

Life

Aivazovsky was born in the town of Feodosiya, Crimea (Russian Empire) to a poor Armenian family. His parents family name was Aivazian. Some of artist's paintings bear a signature, in Armenian letters, "Hovhannes Aivazian" (Հովհաննես Այվազյան). His talent as an artist earned him sponsorship and entry to the Simferopol gymnasium №1 and later the St.Petersburg Academy of Arts, from which he graduated with the gold medal. Earning awards for his early landscapes and seascapes, he went on to paint a series of portraits of Crimean coastal towns before traveling throughout Europe. In later life, his paintings of naval scenes earned him a longstanding commission from the Russian Navy.

In 1845, Aivazovsky went to Constantinople upon the invitation of Sultan Abdülmecid, a city he was to travel to eight times between 1845-1890. During his long sojourn in Constantinople, Aivazovsky was commissioned for a number of paintings as a court painter by the Ottoman Sultans Abdülmecid, Abdulaziz and Abdulhamid, 30 of which are currently on display in the Ottoman Imperial Palace, the Dolmabahce Museum and many others at various other museums in Turkey.

Success

Due to his long life in art, Aivazovsky became the most prolific Armenian painter of his time. He left over 6,000 works at his death in 1900. With funds earned during his successful career as an artist he opened an art school and gallery in his home town of Feodosiya.

As of 2006^[update], Aivazovsky's works have been auctioned for as much as $3,200,000, and his international reputation continues to grow. On June 14, 2007 his painting "American Shipping off the Rock of Gibraltar" sold for 2,710,000 pounds, "the highest price paid at auction for Aivazovsky".^[1] He is also said to be the most forged of all Armenian painters.

Bracing the Waves.jpg

Fishermen on the Shore.jpg

Fishing Boats In A Harbor.jpg

Landscape With Windmills.jpg

Moonlit Seascape With Shipwreck.jpg

Nocturnal Voyage.jpg

Panorama of Constantinopole.jpg

Ship At Sea.jpg

Storm.jpg

The Caucasus.jpg

The Harbor At Odessa On The Black Sea.jpg

The Rescue.jpg

The Shipwreck.jpg

View Of The Ayu Dag, Crimea.jpg

Pieter Aertsen

Jump to: navigation, search

Apostles Peter and John by Pieter Aertsen (1575). Oil on wood, 55.5 × 76 cm. The Hermitage, St. Petersburg

Pieter Aertsen (1508 – 1575), called "Long Peter" because of his height, was a Dutch historical painter. He was born and died in Amsterdam, and painted there and in Antwerp, though his genre scenes were influential in Italy.

As a youth, he apprenticed with Allaert Claesz. He distinguished himself by painting domestic scenes in which he reproduced articles of furniture, cooking utensils, and so on, with marvellous fidelity. Later in life, he began documenting historical scenes. Several of his best works, including altarpieces in various churches, were destroyed in the Netherlands' religious wars.

An excellent specimen of his style is a painting of the Crucifixion,^[1] Aertsen was a member of Antwerp's equivalent of the Academy of St Luke. In the official books of the Academy he is known as "Langhe Peter, schilder" (Long Peter, painter). Three of his sons are acclaimed painters, and his other pupils included Giovanni Stradano and Aertsen's nephew, Joachim Beuckelaer.

From Wikipedia, the free encyclopedia

Butcher's Stall

Christ and the Adulteress

Cook in front of the Stove

Market Scene 1

Market Scene 2

Market Scene 3



Market Scene 4

Market Woman with Vegetable Stal

Peasants by the Hearth




Still-Life

The Egg Dance

Vendor of Fowl

Willem van Aelst

Willem van Aelst (May 16, 1627, Delft - in or after 1683, Amsterdam) was a Dutch artist who specialized in still-life painting with flowers or game.

Van Aelst was born to a family of prominent city magistrates. He learned to paint from his uncle, the still-life painter Evert van Aelst. On 9 November 1643 he enrolled as a master of the Guild of Saint Luke at Delft.

Between 1645 and 1649 he lived in France. In 1649 Van Aelst travelled to Florence, where he served as court painter to Ferdinand II de Medici, grand duke of Tuscany. At this time, the grand duke also employed two fellow Dutchmen Matthias Withoos and Otto Marseus van Schrieck, the latter also a still-life painter who probably influenced Van Aelst's style.

In 1656 he returned to the Netherlands to settle permanently in Amsterdam. He became one of the most prominent still-life painters of his generation, which allowed him to live on the Prinsengracht. He must have died in 1683 or shortly thereafter, as his latest dated work is from that year. Van Aelst taught Rachel Ruysch and several others.

External links

• Website on Willem van Aelst in Delft

A Still Life of Grapes.

Hunting Still-Life

Still-Life of Dead Birds and Hunting Weapons

Still-Life with Hunting Equipment and Dead Birds

Vase of Flowers with Watch

Andreas Achenbach:

Andreas Achenbach (September 29, 1815 – April 1, 1910) was a German landscape painter.

Born at Kassel, he began his art education in 1827 in Düsseldorf under Friedrich Wilhelm Schadow at the Düsseldorf Academy of Painting. He studied at St Petersburg and travelled in Italy, Holland and Scandinavia.^[1] In his early work he followed the pseudo-idealism of the German romantic school, but on removing to Munich in 1835, the stronger influence of Louis Gurlitt turned his talent into new channels, and he became the founder of the German realistic school. Although his landscapes evince too much of his aim at picture-making and lack personal temperament, he is a master of technique, and is historically important as a reformer. The Chambers Biographical Dictionary says of him that "he was regarded as the father of 19th century German landscape painting."

A number of his finest works are to be found at the Berlin National Gallery, the New Pinakothek in Munich, and the galleries at Dresden, Darmstadt, Cologne, Düsseldorf, Leipzig and Hamburg.

He died in Düsseldorf.

His brother, Oswald Achenbach (1827-1905), was also a painter.

A Fishing Boat Caught In A Squall Off A Jetty

Bringing in the Catch

Don Quixote and Sancho Panza

Fishing Along the Shore

Morning In The Potinian Marches

Return To Harbour In Rough Seas