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April 6 or March 28, 1483 – April 6, 1520. Italian painter.

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James Abbott McNeil Whistler
Caprice in Purple and Gold
mk87 1864 Oil on panel 51x68.5cm Washington,Freer Gallery of Art
ID: 34034

James Abbott McNeil Whistler Caprice in Purple and Gold
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James Abbott McNeil Whistler Caprice in Purple and Gold


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James Abbott McNeil Whistler

1834-1903 James Abbott McNeill Whistler Art Locations   Related Paintings of James Abbott McNeil Whistler :. | Wapping | Blue and Gold-Old Battersea Bridge | Caprice in Purple and Gold | Arrangement in light pink and black | Grey and Silver |
Related Artists:
PASSEROTTI, Bartolomeo
Italian Painter, 1529-1592
Charles Codman
(circa 1800-1842) was a landscape painter of Portland, Maine. His art is featured at the Portland Museum of Art as mature, fine early American landscape painting. Codman was probably from Boston and was apprenticed to the ornamental painter, John Ritto Penniman. Codman began as a decorative painter and had no formal training but eventually produced mature works of romance and beauty. One of his more important commissions was to design and paint five fireboards (decorative panels placed over hearths during the summertime) in the landscape style, for the Portland mansion of shipbuilder James Deering. He also filled commissions for both portraiture and decorative arts.
Jacopo Tintoretto
1518-1594 Italian painter. His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 ?C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.






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