Adolphe William Bouguereau
Bouguereau made more than seven hundred finished works. French painter. From 1838 to 1841 he took drawing lessons from Louis Sage, a pupil of Ingres, while attending the coll?ge at Pons. In 1841 the family moved to Bordeaux where in 1842 his father allowed him to attend the Ecole Municipale de Dessin et de Peinture part-time, under Jean-Paul Alaux. In 1844 he won the first prize for figure painting, which confirmed his desire to become a painter. As there were insufficient family funds to send him straight to Paris he painted portraits of the local gentry from 1845 to 1846 to earn money. In 1846 he enrolled at the Ecole des Beaux-Arts, Paris, in the studio of Francois-Edouard Picot. This was the beginning of the standard academic training of which he became so ardent a defender later in life. Such early works as Equality reveal the technical proficiency he had attained even while still training. In 1850 he was awarded one of the two Premier Grand Prix de Rome for Zenobia Discovered by Shepherds on the Bank of the River Araxes (1850; Paris, Ecole N. Sup. B.-A.). In December 1850 he left for Rome where he remained at the Villa Medici until 1854, working under Victor Schnetz and Jean Alaux (1786-1864). During this period he made an extensive study of Giotto's work at Assisi and Padua and was also impressed by the works of other Renaissance masters and by Classical art. On his return to France he exhibited the Triumph of the Martyr (1853; Luneville, Mus. Luneville; ) at the Salon of 1854. It depicted St Cecilia's body being carried to the catacombs, and its high finish, restrained colour and classical poses were to be constant features of his painting thereafter. All his works were executed in several stages involving an initial oil sketch followed by numerous pencil drawings taken from life. Though he generally restricted himself to classical, religious and genre subjects, he was commissioned by the state to paint Napoleon III Visiting the Flood Victims of Tarascon in 1856 Related Paintings of Adolphe William Bouguereau :. | Spinner | The Nymphaeum (mk26) | Nymphs and Satyr (mk26) | L'amour (mk26) | nude |
Related Artists:BAGLIONE, Giovanni
Italian Baroque Era Painter, active 1573-1644
A pupil of Francesco Morelli, he worked mainly in Rome, initially with a late-Mannerist style. He was also nicknamed Il Sordo del Barozzo. He published two books, The nine churches of Rome (1639) and The Lives of Painters, Sculptors, Architects and Engravers (active from 1572-1642)(1642). The last title is still seen as an important historical source for painters living in Rome during the life of Baglione.
Among those he chronicled, and for whom he was notorious in his animosity was Caravaggio, whose style had influenced him much. The latter was forced to leave the city after Baglione's accusations of sodomy. Baglione's Sacred love versus profane love, a response to Caravaggio's Love Victorious, shows an angel (Sacred Love) interrupting a 'meeting' between Cupid (Profane Love) and the Devil (portrayed with the face of Caravaggio).
He was employed in many considerable works in Rome during the pontificates of Clement VIII and Paul V. His main works are frescoes which can be seen in the Santa Maria Maggiore in Rome, in the Cappella Borghese. For the church of Santa Maria dell'Orto he painted in the chapel of Our Lady with the Zuccheri scenes from the life of the Blessed Virgin. Among other works which he executed for this church is a painting of Saint Sebastian. An excellent example of Baglione's work is The Last Supper at San Nicola in Carcere. From his brush also there is a Saint Stephen in the Cathedral at Perugia, and in that of Loreto a Saint Catherine. Pope Paul V knighted Baglione a Knight of the Order of Christ for his painting of Saint Peter Raising Tabitha from the Dead (1607) in St. Peter's Basilica. He also painted a St. Stephen for the cathedral of Perugia, and a St. Catharine for the cathedral of Loreto. The Giustizia hall at the Rocca dei Rossi was completely frescoed by Baglione. He died at Rome.Franz Ittenbach
(April 18, 1813 - December 1, 1879) was a German religious painter from Königswinter, North Rhine-Westphalia, at the foot of the Drachenfels.
Ittenbach began his art education as a student of Kaufmann, then left to study under Franz Katz in Cologne. In 1832, Ittenbach became a pupil, at the age of 19, of the Desseldorf Academy, where he also received private lessons from its president, Schadow. He was a member of the Nazarene movement and associated himself mainly with three of his friends and fellow-students: Karl and Andreas Meller, and Ernst Deger. The four men travelled about in Germany, studying and painting together. From 1839 to 1842, Ittenbach lived in Italy. On his return, he stayed in Munich for some time. In 1849, he returned to Desseldorf. From 1859 until his death, he was a member of the artist club "Malkasten".
Ittenbach was exceedingly religious and persistently declined any commissions for mythological or pagan subjects. As a rule, he devoted his energies exclusively to church decoration. He would precede the execution of his greatest works with devout religious exercises, including confession and communion.
His finest paintings are said to be found at Bonn, in the church of St. Remigius, and in Breslau in a church dedicated to the same saint. There is also a remarkable "Holy Family" dated 1861, painted for Prince Liechtenstein in his private chapel near Vienna. Most of his other works can be found in various Catholic churches in Germany. His only important fresco was painted in 1844 in a church at Remagen.
Ittenbach was a popular painter in court circles, a member of most of the European academies, and the recipient of many medals and decorations. He painted a few portraits, but they were unimportant; his main work was his altar-pieces.
Laurent de la Hyre
French Laurent de la Hyre Galleries
He became a pupil of Georges Lallemand and studied the works of Primaticcio at Fontainebleau, but never visited Italy. La Hyre is associated with the transitional period before the introduction of the French Baroque by Simon Vouet.
His picture of Pope Nicholas V opening the crypt in which he discovers the corpse of St. Francis of Assisi standing (located at the Louvre) was executed in 1630 for the Capuchin friars of the Marais; its gravity and sobriety seems to have been influential for the next generation of French painters, particularly Eustache Le Sueur. The Louvre contains eight other works, and paintings by La Hyre are in the museums of Strasburg, Rouen and Le Mans.
Laurent de La Hyre: Perspective (drawing).His drawings, of which the British Museum possesses a fine example, Presentation of the Virgin in the Temple, are treated as seriously as his paintings, and sometimes show simplicity and dignity of effect. The example of the Capuchins, for whom he executed several other works in Paris, Rouen and Fecamp, was followed by the goldsmith's company, for whom he produced in 1635 St. Peter healing the Sick (Louvre) and the Conversion of St Paul in 1637. In 1646, with eleven other artists, he founded the French Royal Academy of Painting and Sculpture.
Richelieu called La Hyre to the Palais Royal; Pierre S??guier, Gedeon Tallemant des R??aux and many others entrusted him with important works of decoration; for the Gobelins he designed a series of large compositions. La Hyre painted also a great number of portraits, and in 1654 united in one work for the town-hall of Paris those of the principal dignitaries of the municipality.