Raphael's Oil Paintings
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April 6 or March 28, 1483 – April 6, 1520. Italian painter.

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Francesco Guardi
mk86 c.1745 Oil on canvas 92x132cm Milan
ID: 33795

Francesco Guardi Capriccio
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Francesco Guardi Capriccio

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Francesco Guardi

1712-1793 Italian Francesco Guardi Galleries Francesco Guardi was born in Venice into a family of lesser nobility from Trentino. His father Domenico (born in 1678) and his brothers Niccolo and Gian Antonio were also painters, the latter inheriting the family workshop after the father's death in 1716. They probably all contributed as a team to some of the larger commissions later attributed to Francesco. His sister Maria Cecilia married the pre-eminent Veneto-European painter of his epoch, Giovanni Battista Tiepolo. In 1735, Guardi moved to the workshop of Michele Marieschi, where he remained until 1743. His first certain works is from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his better-known brother, Gian Antonio. The first work signed by Francesco is a Saint Adoring the Eucarist (circa 1739). His works in this period included landscapes as well as figure representations. His early vedutas show influence both from Canaletto and Luca Carlevarijs. On February 15, 1757 he married Maria Mattea Pagani, the daughter of painter Matteo Pagani. In the same year his brother Gian Antonio died and his first son, Vincenzo, was born. His second son, Giacomo, was born in 1764. In 1763 he worked in Murano, in the church of San Pietro Martire, finishing a Miracle of a Dominican Saint clearly influenced by Alessandro Magnasco in its quasi-expressionistic style. Francesco Guardi's most important later works include the Doge's Feasts, a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo. In his later years, Canaletto's influence on his art diminished, as showed by the Piazzetta in the Ca' d'Oro of Venice. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno. Miracle of a Dominicane Saint (1763), Lugano, private collection.In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, of which only two remain, and two others for that of Pope Pius VI. On September 12 of that year he was admitted to the Fine Art Academy of Venice. A stronger attention to colours is present in late works such as the Concerto of 80 Orphans of 1782, now in Munich, in the Façade of Palace with Staircase in the Accademia Carrara of Bergamo. Guardi died at Venice in 1793.  Related Paintings of Francesco Guardi :. | Venice from the Bacino di San Marco | Arched Bridge at Cannaregio | Dal ciclo delle storie di Tobiolo (mk21) | Departure of Bucentaure towards the Lido of Venice on Ascension Day | The Giudecca with the Zitelle |
Related Artists:
POTTER, Paulus
Dutch Baroque Era Painter, 1625-1654 Son of Pieter Potter. He was related through his mother, Aechtie Pouwels (d 1636), to the wealthy and powerful von Egmont and Semeyns families, who held important offices in Enkhuizen and at the court in The Hague. He worked in his father's studio in Amsterdam during the 1630s and, like him, painted history subjects that show the strong influence of Claes Moeyaert, with whom Paulus may also have studied. In the painting Abraham Returning from Canaan he adapted the landscape setting from an etching by Moses van Uyttenbroeck and the figures from works by Moeyaert from over ten years earlier. Significantly, however, he redistributed the numerous animals and figures that Moeyaert had aligned evenly across the frontal plane; Potter placed them to one side, permitting a view into the deep distance where other animals can be seen. Potter followed his father more than Moeyaert in searching for ways to integrate his figures with the landscape,
Anna Atkins
Tonbridge 1799-1871 Tonbridge,English botanist and pioneer of the photogram and photographic publishing. Daughter of the prominent scientist John George Children, Atkins was encouraged by him in her scientific interests. She was a competent watercolourist and published at least one lithograph. By 1823 her draughtsmanship and observational skills were refined enough for her to produce 200 illustrations for her father's translation of Lamarck's Genera of Shells. Botany was her particular love, especially the collection and study of seaweeds. Her father chaired the February 1839 Royal Society meeting at which Henry Talbot first revealed the manipulatory secrets of photogenic drawing. Father and daughter soon got a camera and took up the new art of photography, but Atkins's biggest contribution to it involved neither a camera nor her father. She conceived the idea of publishing a photographic record of her algae, making photograms by contact printing the dried specimens on sheets of sensitized paper.
john D.rockefeller
new york metropolian museum, cloisters collection

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