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 :. | Maria Luisa von Parma | British painter | Self-portrait | Infantin Maria Theresa von Neapel | Self-portrait |
Related Artists:Peter Franchoys
Peter, Peeter or Pieter Franchoys or Francois (1606-1654) was a Flemish Baroque painter from Mechelen, who painted an altarpiece of Calvary influenced by Anthony van Dyck for the St. Gummarus church in Lier, Belgium.
He first learned to paint from his father, Lucas Franchoys the Elder, and later from Gerard Seghers in Antwerp . In 1631 he traveled in France and is recorded being in Fontainebleau. In 1646 he became a member of the Mechelen schutterij and in 1649 he became a master in the Guild of St. Luke there.
According to Houbraken he was known for his landscapes with small figures, that attracted the admiration of Archduke Leopold Wilhelm of Austria, for whom he painted many years.
His work is memorialized in the Gulden Cabinet of the poet from Lier, Cornelis de Bie.
Mihaly Munkacsy Locations
Munkacsy started to paint during the years he spent in Arad as a joiner. With the help of partons be studied at the Viennese, Munich and Dusseldorf academies. Munkacsy painted his first major work, the outstanding "The Condemned Cell" in D??sseldorf, in 1872, together with his friend Laszlo Paal, he moved to Paris, where be lived until the end of his life. Munkacsy painted his genres in the style of realism between 1873 and 1875: "Midnight Ramblers", "Farewell". "Churning Woman", "Woman Carryng Brushwood", and "Pawnshop" were the zenith of his career. He married the widow of Baron de Marches in 1874, and his style changed from that time on. Departing from the typical subjects of realism, be produced colourful salon paintings and still-lifes. This was the period when be also turned to ladscape painting; his growing interest is marked by such great paintings as "Dusty Road". "Corn Field", and "Walking in the Woods". The assimilation of Laszlo Paal's style is apparent in the landscapes painted during the 1880s, such as "Avenue" and "The Colpach Park". His realist portraits - e.g. of Franz Liszt and Cardinal Haynald - were also born around this time, together with his religions paintings, such as "Christ in front of Pilate", "Golgotha" and later, "Ecce homo".
Towards the end of his career he painted two monumental works: "Hungarian Conquest" for the House of Parliament and a fresco entitled "Apotheosis of Renaissance, for the ceiling Kunsthistoriches. Museum in Vienna.Zahari Zograf
(1810?C1853), better known as Zahari Zograf (or Zahariy Zograf) is arguably the most famous Bulgarian painter of the Bulgarian National Revival, noted for his church mural paintings and icons and often regarded as the founder of secular art in Bulgaria due to the introduction of everyday life elements in his work.
Zahari Zograf was born in the town of Samokov in 1810 and was taught by his brother Dimitar Zograf, with whom he later worked together, as his father died early. A spiritual student of Neophyte of Rila since 1827, he became an equal partner of his brother at the age of 21 in 1831, i.e. he was proclaimed a master.
His best known icons are those of the SS Constantine and Helen Church in Plovdiv, the Church of the Theotokos in Koprivshtitsa, as well as a number of monasteries. Zahari Zograf's best known frescoes are those in the main church of the Rila Monastery, in the chapel and the St Nicholas church of the Bachkovo Monastery, the Troyan Monastery and the Monastery of the Transfiguration. He painted three mural portraits of himself in the latter three, a move that was regarded as controversial during the time.