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Frans Pourbus -- Click Here
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Flemish Northern Renaissance Painter, ca.1545-1581 |
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Frans Post -- Click Here
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1612-1680 Dutch Frans Post Gallery |
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Frans Jansz van Mierisi -- Click Here
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1635-1681
Dutch
Frans Jansz van Mierisi Gallery |
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Frans Hals -- Click Here
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1580-1666
Frans Hals Galleries |
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Frans Francken II -- Click Here
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Flemish Baroque Era Painter, 1581-1642 |
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Frans Floris de Vriendt -- Click Here
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c.1517-70, Flemish painter |
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Frans de Momper -- Click Here
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Flemish Baroque Era Painter, 1603-1660 |
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Franqois Balthazar Solvyns -- Click Here
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1760-1824
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Frank Walton -- Click Here
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Frank Walton. RI, RBA (1840 - 1888) |
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Frank Duveneck -- Click Here
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1848-1919
Frank Duveneck Gallery |
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Frank Buscher -- Click Here
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1828-1890
Swiss
Frank Buscher Locations |
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Frank Bramley -- Click Here
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English Painter, 1857-1915 |
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Frank Blackwell Mayer -- Click Here
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American Painter, 1827-1899 |
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Francois-Marius Granet -- Click Here
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1775-1849
French
Francois Marius Granet Gallery |
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Francois-Joseph Heim -- Click Here
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1787-1865
French Francois-Joseph Heim Gallery |
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Francois-Hubert Drouais -- Click Here
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Paris 1727-Rome 1775 |
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Francois Louis Thomas Francia -- Click Here
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French, 1772-1839 |
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Francois Louis Francais -- Click Here
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Plombieres 1814 - Paris 1897. |
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Francois Joseph Navez -- Click Here
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1787-1869
French
Francois Joseph Navez gallery |
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Francois Gerard -- Click Here
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French Neoclassical Painter, 1770-1837 |
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Francois Desportes -- Click Here
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1661-1743
Francois Desportes Locations |
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Francois de Troy -- Click Here
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French Baroque Era Painter, 1645-1730 |
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Francois Clouet -- Click Here
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1510-1572 French
Francois Clouet Locations
The earliest reference to him is a document dated December 1541 (see Jean Clouet), in which the king renounces for the benefit of François his father estate, which had escheated to the crown as the estate of a foreigner. In this document, the younger Clouet is said to have followed his father very closely in his art. Like his father, he held the office of groom of the chamber and painter in ordinary to the king, and so far as salary is concerned, he started where his father left off. Many drawings are attributed to this artist, often without perfect certainty. There is, however, more to go upon than there is in the case of his father.
As the praises of Francois Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would guarantee the ascriptions usually accepted. To him are attributed the portraits of Francis I at the Uffizi and at the Louvre, and various drawings relating to them. He probably also painted the portrait of Catherine de Medici at Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. One of his most remarkable portraits is that of Mary, queen of Scots, a drawing in chalks in the Bibliotheque Nationale, and of similar character are the two portraits of Charles IX and the one at Chantilly of Marguerite of France. Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre. This piece made an important impression on Claude Levi-Strauss. In particular it helped inspire his theory of the mod??le reduit, or of works of art as simplifications and scale models of the realities they represent, and other theories of artworks, in his book The Savage Mind.
Clouet resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hotel de Guise, and in 1568 is known to have been under the patronage of Claude Gouffier de Boisy, Seigneur d Oiron, and his wife Claude de Baune. Another ascertained fact concerning Francois Clouet is that in 1571 he was summoned to the office of the Court of the Mint, and his opinion was taken on the likeness to the king of a portrait struck by the mint. He prepared the death-mask of Henry II, as in 1547 he had taken a similar mask of the face and hands of Francis I., in order that the effigy to be used at the funeral might be prepared from his drawings; and on each of these occasions he executed the painting to be used in the decorations of the church and the banners for the great ceremony.
Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II in the collection of J. Pierpont Morgan. Another of his portraits is that of Francois, duc d Alençon in the Jones collection at South Kensington, and certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him. He died on the 22nd of December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of property, is still in existence. His daughters subsequently became nuns.
His work is remarkable for the extreme accuracy of the drawing, the elaborate finish of all the details, and the exquisite completeness of the whole portrait. He must have been a man of high intelligence, and of great penetration, intensely interested in his work, and with considerable ability to represent the character of his sitter in his portraits. His coloring is perhaps not specially remarkable, nor from the point of style can his pictures be considered especially beautiful, but in perfection of drawing he has hardly any equal. |
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Francois Boucher -- Click Here
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French Rococo Era Painter, 1703-1770
Francois Boucher seems to have been perfectly attuned to his times, a period which had cast off the pomp and circumstance characteristic of the preceding age of Louis XIV and had replaced formality and ritual by intimacy and artificial manners. Boucher was very much bound to the whims of this frivolous society, and he painted primarily what his patrons wanted to see. It appears that their sight was best satisfied by amorous subjects, both mythological and contemporary. The painter was only too happy to supply them, creating the boudoir art for which he is so famous.
Boucher was born in Paris on Sept. 29, 1703, the son of Nicolas Boucher, a decorator who specialized in embroidery design. Recognizing his sons artistic potential, the father placed young Boucher in the studio of François Lemoyne, a decorator-painter who worked in the manner of Giovanni Battista Tiepolo. Though Boucher remained in Lemoynes studio only a short time, he probably derived his love of delicately voluptuous forms and his brilliant color palette from the older masters penchant for mimicking the Venetian decorative painters. |
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Francois Bonvin -- Click Here
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1817-1887
French
Francois Bonvin Location
Bonvin was born in humble circumstances in Paris, the son of a police officer and a seamstress. When he was four years old his mother died of tuberculosis and young Francois was left in the care of an old woman who underfed him. Soon his father married another seamstress and brought the child back into the household. Nine additional children were born, putting a strain on the familys resources, and to make matters worse his stepmother took to abusing and undernourishing Francois.
The young Bonvin started drawing at an early age. His potential was recognized by a friend of the family, who paid for him to attend a school for drawing instruction at age eleven. This instruction ended after two years, when his father apprenticed him to a printer, and Bonvin was to remain mostly self-taught as an artist. He spent his free time at the Louvre where he especially appreciated the Dutch old masters. Bonvin married a laundress at the age of twenty, at about the same time that he secured a job at the headquarters of the Paris police. It was during this period in his life that he also contracted an illness which would trouble him for the rest of his life.
Bonvin exhibited three paintings in the Salon of 1849, where he was awarded a third-class medal. He exhibited in the Salon of 1850 with Courbet, and won recognition as a leading realist, painting truthfully the lives of the poor which he knew at first hand. His paintings were well received by critics and by the public. Although his work had elements in common with Courbets, his modestly scaled paintings were not seen as revolutionary. He was awarded the Legion d honneur in 1870.
His subjects were still life and the everyday activities of common people, painted in a style that is reminiscent of Pieter de Hooch and Jean-Baptiste-Simeon Chardin. It is the latter who is especially recalled by Bonvins delicate luminosity.
In 1881 he underwent an operation which did not restore him to health, and he became blind. A retrospective exhibition of his work was held in 1886. He died at Saint-Germain-en-Laye in 1887. |
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Francois Balthazar Solvyns -- Click Here
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1760-1824
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Francois Auguste Biard -- Click Here
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(1800-1882) , a French genre painter |
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Francken, Frans II -- Click Here
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b. 1581, Antwerpen, d. 1642, Antwerpen |
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FRANCKEN, Ambrosius -- Click Here
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Flemish painter (b. ca. 1544, Antwerpen, d. 1618, Antwerpen).
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Francisco Rizi -- Click Here
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Spanish painter, 1614-1685 |
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Francisco Oller y Cestero -- Click Here
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San Juan,Puerto Rico 1833-Santurce 1917 |
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Francisco Miralles Y Galup -- Click Here
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Spanish
1848-1901
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Francisco Jose de Goya -- Click Here
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Spanish Rococo Era/Romantic Painter and Printmaker, 1746-1828 |
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Francisco Gimeno Arasa -- Click Here
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Spanish , Tortosa,Tarragona 1858- Barcelona 1927
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Francisco de Zurbaran -- Click Here
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1598-1664
Spanish Francisco de Zurbaran Galleries
Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art.. |
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Francisco de Herrera the Younger -- Click Here
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1622-1685
Spanish
Francisco de Herrera Gallery |
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Francisco de herrera the elder -- Click Here
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Spanish Baroque Era Painter, ca.1590-1656 |
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Francisco de goya y Lucientes -- Click Here
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b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, |
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Francisco de Goya -- Click Here
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Spanish
1746-1828
Francisco de Goya Locations
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Francisco Camilo -- Click Here
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Spanish painter (b. 1615, Madrid, d. 1673, Madrid) |
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Francisco Bayeu y Subias -- Click Here
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Spanish Painter, 1734-1795 |
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Francisco Bayeu -- Click Here
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Spanish painter ,
1734, Zaragoza, Spain - 1795, Madrid |
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Francisco Antolinez y Sarabia -- Click Here
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Spanish Painter , Seville circa 1644-circa1700
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Francis William Edmonds -- Click Here
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American, 1806-1863 |
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Francis Wheatley -- Click Here
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1747-1801
British Francis Wheatley Location
Francis Wheatley (1747 - June 28, 1801), was an English portrait and landscape painter, was born at Wild Court, Covent Garden, London. He studied at Shipleys drawing-school and the Royal Academy, and won several prizes from the Society of Arts. He assisted in the decoration of Vauxhall, and aided Mortimer in painting a ceiling for Lord Melbourne at Brocket Hall (Hertfordshire). In youth his life was irregular and dissipated. He eloped to Ireland with the wife of Gresse, a brother artist, and established himself in Dublin as a portrait-painter, executing, among other works, an interior of the Irish House of Commons. His scene from the Gordon Riots of 1780 was engraved by Heath. He painted several subjects for Boydells Shakespeare Gallery, designed illustrations to Bells edition of the poets, and practised to some small extent as an etcher and mezzotint-engraver. It is, however, as a painter, in both oil and water-color, of landscapes and rustic subjects that Wheatley is best remembered. He was elected an associate of the Royal Academy in 1790, and an academician in the following year. His wife, as Mrs Pope after his death, was known as a painter of flowers and portraits. |
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Francis Towne -- Click Here
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English Painter, 1739-1816 |
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Francis Sartorius -- Click Here
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Scottish , 1734-1804 |
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Francis Oliver Finch -- Click Here
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British watercolour painter, 1802-1862 |
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Francis Nicholson -- Click Here
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English Painter, 1753-1844 |
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Francis Hopkinson Smith -- Click Here
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Engineer, artist, illustrator, and short story writer
American , 1838-1915
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Francis Hayman -- Click Here
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English Painter, 1708-1776 |
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Francis Guy -- Click Here
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American Colonial Era Painter, 1753-1820 |
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Francis Grant -- Click Here
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Scottish Painter, 1803-1878 |
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Francis Danby -- Click Here
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Irish Painter, 1793-1861 |
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Francis Campbell Boileau Cadell -- Click Here
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Scottish, 1883-1937 |
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Francis A.Silva -- Click Here
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American Hudson River School Painter, 1835-1886 |
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FRANCIABIGIO -- Click Here
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Italian High Renaissance Painter, 1484-1525 |
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FRANCIA, Francesco -- Click Here
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Italian High Renaissance Painter, 1450-1517 |
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Francia Alexandre -- Click Here
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French , 1815-Bruxelles 1884
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Francesco Zuccarelli -- Click Here
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Italian 1702-1788
1788). Italian painter and draughtsman, active in England.
Zuccarelli training began in Florence, where he engraved the frescoes by Andrea del Sarto in SS Annunziata. He then studied in Rome under Paolo Anesi and learnt figure drawing from Giovanni Maria Morandi (1622-1717), although in this he never acquired any great skill. His earliest recorded paintings were Mary Magdalene and St Jerome (both untraced), which he contributed to the exhibition of the feast of St Luke in Florence in 1729. He also painted portraits. Around 1730 he moved to Venice and began painting landscapes exclusively. His interest in this field may have led to his becoming acquainted with the Welsh landscape painter Richard Wilson in 1750-51. Wilson painted a lively portrait of him (1751; London, Tate) in exchange for one of Zuccarellis landscapes. Zuccarelli avoided both the topographical type of Venetian view developed by Canaletto and the stormier landscapes of Marco Ricci, adopting instead a decorative landscape style of idealized Italian countryside. His subject-matter was usually unspecific rather than recognizably historical, biblical or mythological. For example, in the early 1740s he executed six paintings purporting to be scenes from the story of Jacob, but the paintings themselves bear few references to it (e.g. Landscape with Two Seated Women Embracing, 1743; Windsor Castle, Berks, Royal Col.). |
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Francesco Vanni -- Click Here
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Italian Baroque Era Painter, 1563-1610 |
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Francesco Trevisani -- Click Here
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Italian Rococo Era Painter , Capodistria 1656-1746 Rome
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