(March 18, 1866, Bebri Farmstead, Saldus parish, Courland Governorate - December 26, 1916) was a Latvian painter. Rozentels received the basic education at H.Krause's Elementary School in Saldus and Kuldega District School. At the age of fifteen the boy left for Riga and consistently tried to realize his dream about art, later entering St.Petersburg Academy of Art. During study vacations the developing artist visited his native land to relax from the hectic rhythm of the large city, paint motifs from nature and commissioned portraits. For his diploma work he took as models the young educated Latvians and local farmers. A little later the artist decided to settle in Saldus as he wanted to live among his people and create art appropriate to its aspirations and feelings. In spring 1899 Rozentels bought a building plot at the Striķu street and set up a studio, but his intents were not well received in the provincial town and he moved to Riga two years later. Now a memorial museum is arranged in the building designed by the artist. Fateful turn in life of the painter happened in November, 1902, when Janis Rozentels got acquainted with Elli Forsell(1871 - 1943), a Finnish singer, in Riga. On February 20, 1903, they got married. They found home in a flat- studio, in Alberta street, in Riga. they had three children - Laila, Irja and Miķelis. World War I interrupted the family's life in Riga and in 1915 they relocated to Finland. He died suddenly on December 26, 1916 and was buried in Helsinki, though later was reburied in his homeland. Today, the Janis Rozentels Art Highschool in Riga is named after him, and has had his name since 1946.  Related Paintings of Janis Rozentals :. | Federa portrets | Princess with a Monkey | Italian Landscape | Firstenes Sarlotes Levenas portrets | Virietis ar papirosu |
Related Artists:
Alois Auer von Welsbach
Wels1813-1869 Vienna
Campin, Robert, Follower of
Italian, 1400s
LONGHI, Pietro
Italian Rococo Era Painter, ca.1702-1785 Painter and draughtsman. His father, Alessandro Falca, encouraged his natural talent for drawing, and he studied under Antonio Balestra for 'several years', according to his son, Alessandro Longhi. Balestra probably took Pietro to Bologna and recommended him to Giuseppe Maria Crespi. No documents exist on Longhi until 1732, the year he married, and some doubt has been expressed about his study with Crespi. There is no trace of Crespi's influence in Longhi's altarpiece for the parish church of S Pellegrino in Bologna, St Pellegrino Condemned to Death, installed in 1732; Crespi's style is an intimate one, however, and would have been inappropriate for such a large altarpiece. One of Longhi's first independent works, the St Pellegrino altarpiece recalls his Venetian origins and training in its broken brushwork and colour glazes. In another early work, the Adoration of the Magi (Venice, Scuola Grande S Giovanni Evangelista), documented in 1733 as at S Maria Materdomini, Venice, the subject-matter lends itself to a more domestic treatment, and Crespi's influence is evident. Both these works contain passages anticipating Longhi's subsequent development as a genre painter; in each picture a boy or young man, perhaps a self-portrait, gazes out at the spectator, unconcerned with events in the painting.