Anton Raphael Mengs
Anton Raphael Mengs Gallery
Mengs was born in 1728 at Usti nad Labem (German: Aussig) in Bohemia on 12 March 1728; he died in Rome 29 June 1779. His father, Ismael Mengs, a Danish painter, established himself finally at Dresden, whence in 1741 he took his son to Rome.
In Rome, his fresco painting of Parnassus at Villa Albani gained him a reputation as a master painter. The appointment of Mengs in 1749 as first painter to Frederick Augustus, elector of Saxony did not prevent his spending much time in Rome, where he had married Margarita Quazzi who had sat for him as a model in 1748, and abjured the Protestant faith, and where he became in 1754 director of the Vatican school of painting, nor did this hinder him on two occasions from obeying the call of Charles III of Spain to Madrid. There Mengs produced some of his best work, and specially the ceiling of the banqueting-hall of the Royal Palace of Madrid, the subject of which was the Triumph of Trajan and the Temple of Glory. Among his pupils there was Agust??n Esteve. After the completion of this work in 1777, Mengs returned to Rome, and there he died, two years later, in poor circumstances, leaving twenty children, seven of whom were pensioned by the king of Spain. His portraits and autoportraits recall an attention to detail and insight, often lost from the grand manner paintings.
Besides numerous paintings in the Madrid gallery, the Ascension and St Joseph at Dresden, Perseus and Andromeda at Saint Petersburg, and the ceiling of the Villa Albani must be mentioned among his chief works. In 1911, Henry George Percy, 7th Duke of Northumberland, possessed a Holy Family, and the colleges of All Souls and Magdalen, at Oxford, possessed altar-pieces by Mengs's hand.
In his writings, in Spanish, Italian and German, Mengs has put forth his eclectic theory of art, which treats of perfection as attainable by a well-schemed combination of diverse excellences Greek design, with the expression of Raphael, the chiaroscuro of Correggio, and the colour of Titian. He would have fancied himself the first neoclassicist, while in fact he may be the last flicker of Baroque art. Or in the words of Wittkower, In the last analysis, he is as much an end as a beginning.
His intimacy with Johann Joachim Winckelmann, who constantly wrote at his dictation, has enhanced his historical importance, for he formed no scholars, and the critic must now concur in Goethe's judgment of Mengs in Winckelmann und sein Jahrhundert; he must deplore that so much learning should have been allied to a total want of initiative and poverty of invention, and embodied with a strained and artificial mannerism.
Mengs was famous for his rivalry with the contemporary Italian painter Pompeo Batoni. Related Paintings of Anton Raphael Mengs :. | Portrait of Charles Hanbury Williams. | Maria Luisa von Parma | portrait | Retrato de la Marquesa de Llano | Perseus Frees Andromeda |
Related Artists:GIOVANNI DA MODENA
Italian painter, Bolognese school (active 1409-1456 in Bologna)Agnolo Gaddi
Italian Early Renaissance Painter, ca.1345-1396
Son of Taddeo Gaddi. Through both his brother Giovanni and his father, Agnolo was heir to the Giottesque tradition and to a successful family enterprise, which he directed with enormous success up to the turn of the 15th century. He is first mentioned as a painter in 1369, when he assisted his brother Giovanni and Giovanni da Milano in decorations for Urban V (reg 1362-70) in the Vatican. Although he probably did not assume full responsibility for the workshop until his brother Giovanni death, he must have begun accepting his own commissions as early as the 1370s. The nature of his early work and whether it included an altarpiece dated 1375 (Parma, G.N., 435), however, remains a matter of debate. Logical or likely though it may be, the notion that this early activity developed out of his brother Giovanni still little-known art is hypothetical. Whereas the works grouped around Giovanni name are all small panels, Agnolo was an artist who, like his father, excelled in wall painting. Indeed, three monumental fresco cycles (see below), in the Castellani Chapel (painted c. 1384) and the choir (painted c. 1388-93) of Santa Croce, Florence, and the chapel of the Sacra Cintola (doc. 1393-5) in Prato Cathedral, constitute the artist most notable surviving works and offer a basis for reconstructing the content and chronology of his oeuvre.Henri-Edmond Cross
(May 20, 1856 - May 16, 1910) was a French pointillist painter.
Cross was born in Douai and grew up in Lille. He studied at the École des Beaux-Arts. His early works, portraits and still lifes, were in the dark colors of realism, but after meeting with Claude Monet in 1883, he painted in the brighter colors of Impressionism. In 1884, Cross co-founded the Societe des Artistes Independants with Georges Seurat. He went on to become one of the principal exponents of Neo-Impressionism. He began his Pointillist period after spending time with Paul Signac in 1904. His later works are Fauvist, perhaps influenced by his acquaintance with Henri Matisse.
His final years, plagued by rheumatism, were spent in Saint-Clair[disambiguation needed ], where he died in 1910. His pieces include The Church of Santa Maria degli Angely Near Assisi (1909) and Landscape with Stars.
The Allen Memorial Art Museum (Oberlin College, Ohio), the Block Museum of Art (Northwestern University, Illinois), The Art Institute of Chicago, the Fine Arts Museums of San Francisco, Harvard University Art Museums, the Hermitage Museum, the Honolulu Academy of Arts, Kröller-Meller Museum, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, Museum of Grenoble (Grenoble, France), Musee d'Orsay (Paris), Musee Malraux (Le Havre, France), Musee Richard Anacreon (Granville, France), the Museum of Modern Art (New York City), the National Gallery of Art (Washington D.C.), New Art Gallery (Walsall, England), the Tel Aviv Museum of Art and the Thyssen-Bornemisza Museum (Madrid), are among the public collections holding works by Henri-Edmond Cross.