1819-1896 Pencil and watercolour heightened with bodycolour 12x16in 30.5x40.6cm   Related Paintings of John Sherrin :. | The Adoration of the Magi | Portrait of a Gentleman | Melone und Gurke | Die Schlacht | skolan och radhuset i tornea |
Related Artists:
Virgilio Guidi
1891-1928 Virgilio Guidi Gallery
Garofalo
1481-1559 Italian Garofalo Gallery Italian painter. Active mainly in Ferrara and the district around the Po delta, he was one of the most outstanding figures in Emilian classicism during the first half of the 16th century. In 1497 Garofalo father paid Boccaccio Boccaccino to teach his son the rudiments of painting. Garofalo first works were directly influenced by the Cremonese painter, to whom they were formerly even attributed. They consist of a series of small paintings depicting the Virgin and Child. The example in the Ca d Oro in Venice must have been Garofalo first painting and reveals not only the lessons learned from Boccaccino, but also signs of the influence of Domenico Panetti (c. 1460-before 1513), traditionally recorded as his first master. Another Virgin and Child (Assisi, Perkins priv. col.) shows signs of the early influence of Lorenzo Costa the elder, while the example in the Nationalmuseum, Copenhagen, shows a similarity with the early works of his contemporary, Lodovico Mazzolino. A particularly important project in Ferrara during the earliest years of the 16th century, involving numerous highly skilled artists, was the fresco decoration of the oratory of the Concezione. The frescoes (Ferrara, Pin. N.) represent a significant development in the city art. Garofalo hand has been identified in the Presentation in the Temple, in which he reveals a familiarity not only with local art, but also with the high points of Bolognese classicism, whose greatest exponents were Francesco Francia and Lorenzo Costa the elder. Around 1505, Garofalo works show a close familiarity with artistic developments in Bologna, in particular the mature style of Costa and the decoration in 1505-6, by Francesco Francia, Costa, Aspertini and others, of the oratory of S Cecilia in S Giacomo Maggiore. Garofalo Virgin Enthroned between SS Martin and Rosalia (Florence, Uffizi), created for Codigoro Cathedral, should be seen within this context, whereas the small altarpiece for the Arcivescovado, Ferrara, although executed at the same time, shows early, if faint, signs of the influence of Venetian painting of the period.
Nikolai Ge
1831 C 13 June [O.S. 1 June] 1894) was a Russian realist painter famous for his works on historical and religious motifs. Nikolai Ge was born in Voronezh to a Russian noble family of French origin. His grandfather emigrated to Russia in the 18th century. His parents died when he was still a child, so Nikolai was raised by his serf nurse. He graduated from the First Kiev Gymnasium and studied at the physics-mathematics department of Kiev University and Saint Petersburg University. In 1850 he gave up his career in science and entered the Imperial Academy of Arts in Saint Petersburg. He studied in academy under the historical painter Pyotr Basin until 1857. He graduated from the academy in 1857 with a gold medal for his painting The Witch of Endor Calling Up the Spirit of the Prophet Samuel. According to Ge himself, during that period he was strongly influenced by Karl Brullov. His gold medal provided him a scholarship for studying abroad . He visited Germany, Switzerland, France and in 1860 settled in Italy. In Rome he met Alexander Andreyevich Ivanov who strongly influenced Ge. In 1861 Ge painted The Last Supper; in 1863 he took the painting with him to Saint Petersburg. Ge found his own interpretation of the classical subject ?? he emphasized the motif of discord among those who had formerly shared the same views. The painting (bought by Tsar Alexander II of Russia) made so strong impression that Ge was made a professor of Imperial Academy of Arts. In 1864 he returned to Florence where he became a friend of a major Russian pro-Western writer and thinker Alexander Herzen and painted his portrait. The same year he also painted Messengers of the Resurrection and the first version of the Christ on the Mount of Olives.