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 :. | Self-portrait | Retrato de la Marquesa de Llano | Infanta Maria Josefa | Portrait of Isabel Parreno Arce Ruiz de Alarcon y Valdes, Marchioness of Llano | Maria Luisa of Parma |
Related Artists:Arthur Clifton Goodwin
American Painter, ca.1864-1929Giovanni Antonio Pellegrini
(29 April 1675 -- November 1741) was a widely-travelled Rococo decorative painter from Venice, where he was born and died. He is considered to be one of the most important Venetian painters of the early 18th century, melding the Renaissance style of Paolo Veronese with the Baroque of Pietro da Cortona and Luca Giordano,and is considered an important predecessor of Giovanni Battista Tiepolo. One of his pupils was Antonio Visentini.
Pellegrini's father, also Antonio, was a shoemaker from Padua. Pellegrini first studied under Girolamo Genga, but was later a pupil of Paolo Pagani and of Sebastiano Ricci. He married Angela Carriera, the sister of Rosalba Carriera, in c.1704. Pellegrini decorated the dome above the staircase at the Scuola Grande di San Rocco in 1709.
He is mainly known for his work in England, which he visited from 1708 to 1713 at the invitation of the Earl of Manchester, and where he had considerable success. He painted murals in a number of English country houses, including Castle Howard (mostly destroyed in 1940) and Kimbolton Castle, Narford Hall, and in London, 31 St James's Square for the Duke of Portland, where George Vertue noted in his notebooks "the hall and Staircase and one or two of the great rooms". He became a director of Sir Godfrey Kneller's Academy in London in 1711. He submitted designs for the decorating the interior dome of the new St Paul's Cathedral, and is said to have been Christopher Wren's favourite painter, but did not win the commission, losing out to Sir James Thornhill.
(24 September 1755, Bayeux - 3 October 1830, Paris) was a French painter of portraits, history paintings and religious paintings. He was heavily influenced by Jacques-Louis David and his style s reminiscent of the antique.
Robert Lefevre made his first drawings on the papers of a procureur to whom his father had apprenticed him. With his parents' consent, he abandoned this apprenticeship and walked from Caen to Paris to become a student of Jean-Baptiste Regnault (in whose studio he met and became friends with Charles Paul Landon). At the 1791 Paris Salon he exhibited his Dame en velours noir, the point of departure for his reputation. Lefevre made 1805 the portait empress Josephine. 1807 manufactured the counterpart of emperor Napoleon Louis-Andre-Gabriel Bouchet. Napoleon gave both paintings to the city Aachen 1807, where they are today in the city hall and decorate the entrance hall. His other portraits of Napoleon, Josephine, Madame Laetitia, Guerin, Carle Vernet (a portrait which is now at the Louvre) and pope Pius VII made him a fashionable portrait artist and one of the main portraitists of the imperial personalities, a reputation sealed by his portrait of Napoleon's new wife Marie Louise.