Italian Mannerist Painter, 1503-1540 Italian painter, draughtsman and printmaker. Beginning a career that was to last only two decades, he moved from precocious success in the shadow of Correggio in Parma to be hailed in the Rome of Clement VII as Raphael reborn. There he executed few large-scale works but was introduced to printmaking. After the Sack of Rome in 1527, he returned to northern Italy, where in his final decade he created some of his most markedly Mannerist works. Equally gifted as a painter of small panels and large-scale frescoes both sacred and profane, he was also one of the most penetrating portrait painters of his age.   Related Paintings of PARMIGIANINO :. | The Vision of St Jerome | Self-portrait in a Convex Mirror | Madonna with Long Neck | Recreation by our Gallery | The Madonna of the long neck |
Related Artists:
Pierre Mignard
French Baroque Era Painter, 1612-1695 Pierre Mignard (7 novembre 1612 - May 30, 1695), called "Le Romain" to distinguish him from his brother Nicolas, was a French painter. He was born at Troyes, and came of a family of artists; he also needs to be distinguished from his nephew Pierre (1640-1725), often called "Pierre II" or "Le Chevalier". In 1630 he left the studio of Simon Vouet for Italy, where he spent twenty-two years, and made a reputation which brought him a summons to Paris. Successful with his portrait of the king, and in favour with the court, Mignard pitted himself against Le Brun, declined to enter the Academy of which he was the head, and made himself the centre of opposition to its authority. The history of this struggle is most important, because it was identical, as long as it lasted, with that between the old gilds of France and the new body which Colbert, for political reasons, was determined to support.. Portrait of Louise de Kerouaille, Duchess of Portsmouth. Wikimedia Commons has media related to: Pierre Mignard Shut out, in spite of the deserved success of his decorations of the cupola of Val de Grace (1664), from any great share in those public works, the control of which was the attribute of the new Academy, Mignard was chiefly active in portraiture. Turenne, Moliere, Bossuet, Maintenon (Louvre), La Valliere, Sevigne, Montespan, Descartes (Castle Howard), all the beauties and celebrities of his day, sat to him. His readiness and skill, his happy instinct for grace of arrangement, atoned for want of originality and real power. With the death of Le Brun (1690) the situation changed. Mignard deserted his allies, and succeeded to all the posts held by his opponent. These late honours he did not long enjoy. In 1695 he died whilst about to commence work on the cupola of the Invalides. His best compositions have been engraved by Audran, Edelinck, Masson, Poilly and others. There is a good selection of works by Pierre, Nicolas, and Pierre II in Avignon at the Mus??e Calvet. The Courtauld Institute of Art (London), Harvard University Art Museums, the Hermitage Museum, the Honolulu Academy of Arts, Kunst Indeks Danmark, the Louvre, Mus??e d'art et d'histoire (Geneva), Mus??e des Augustins (Toulouse, France), Mus??e Ingres (Montauban, France), Museo Lombardi (Parma, Italy), the Museum of Fine Arts, Houston, the National Gallery, London, the National Portrait Gallery, London, the North Carolina Museum of Art, the Portland Art Museum and Versailles are among the public collections holding works by Pierre Mignard
Johann Heinrich Hintze
painted Berlin, Altes Museum von der Schlossfreiheit aus in 1832
Bingham, George Caleb
American Realist Painter, 1811-1879. American painter. Raised in rural Franklin County, MO, Bingham experienced from an early age the scenes on the major western rivers, the Missouri and the Mississippi, that inspired his development as a major genre painter. During his apprenticeship to a cabinetmaker, he met the itinerant portrait painter Chester Harding, who turned Bingham's attention to art. Teaching himself to draw and compose from art instruction books and engravings, the only resources available in the frontier territories, Bingham began painting portraits as early as 1834.