Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.  Related Paintings of Caravaggio :. | Jungling with fruits basket | Ecce Homo | Bacchus | The Conversion on the Way to Damascus (detail) | The Calling of Saint Matthew (detail) fdgf |
Related Artists:
Jan Matejko
Polish Painter, 1838-1893 He studied from 1852 to 1858 at the School of Fine Arts in Krakew and, during this time, started exhibiting historical paintings with the Society of Friends of the Fine Arts there (e.g. Sigismund I Bestowing Nobility on the Professors of the University of Krakew in 1535 (1858; Krakew, Jagiellonian U., Mus. F.A.). After studying in Munich (1859) under the history painter Hermann Anschetz (1802-80) and then briefly and less successfully in Vienna, Matejko returned to Krak?w, where he was based for the rest of his life. In 1860 Matejko issued an illustrated album, Ubiory w Polsce (later editions 1875 and 1901), a project reflecting his intense interest in historical records of all kinds and his desire to promote such interest among the Polish people in an effort to intensify their patriotic feelings. This role first became widely associated with Matejko with his painting of Stanczyk (1862; Warsaw, N. Mus.), the court jester to King Sigismund I (1437-1548), to whom Matejko gave his own features. The jester is presented as a symbol of the nation's conscience
Washington Allston
1779-1843 Washington Allston Gallery Allston was born on a plantation on the Waccamaw River near Georgetown, South Carolina. His mother Rachel Moore had married Captain William Allston in 1775, though her husband died in 1781, shortly after the Battle of Cowpens. Moore remarried to Dr. Henry C. Flagg, the son of a wealthy shipping merchant from Newport, Rhode Island. Allston graduated from Harvard College in 1800 and moved to Charleston, South Carolina for a short time before sailing to England in May 1801. He was admitted to the Royal Academy in London in September, when painter Benjamin West was then the president. From 1803 to 1808 he visited the great museums of Paris and then for several years those of Italy, where he met Washington Irving in Rome, and Coleridge, his lifelong friend. In 1809 Allston married Ann Channing, sister of William Ellery Channing. Samuel F. B. Morse was one of Allston's art pupils and accompanied Allston to Europe in 1811. After traveling throughout western Europe, Allston finally settled in London, where he won fame and prizes for his pictures. Allston was also a published writer. In London in 1813, he published The Sylphs of the Seasons, with Other Poems, republished in Boston, Massachusetts later that year. His wife died in February 1815, leaving him saddened, lonely, and homesick for America. In 1818 he returned to the United States and lived in Cambridge, Massachusetts for 25 years. He was the uncle of the artists George Whiting Flagg and Jared Bradley Flagg, both of whom studied painting under him. In 1841 he published Monaldi, a romance illustrating Italian life, and in 1850, a volume of his Lectures on Art, and Poems. Allston died on July 9, 1843, at age 64. Allston is buried in Harvard Square, in "the Old Burying Ground" between the First Parish Church and Christ Church.
j. beraud
1849-1935 1849 - Saint Petersburg, Russia - 1935 Paris) Scenes of daily life painted by Jean Beraud reveal interest in Naturalism. Such diverse themes as crowds observing the funeral of Victor Hugo (see Carnavalet, Paris) or studies of the interior of a Parisian Bank Apartment reflect aspects of French society during the Third Republic.