In the present sculpture, Pio Fedi (1816-1892) presents us with an image of the courtship of Dianora. Ippolito's gently persuasive gesture conveys his intense and immediate affection for Dianora, whilst her apparent reticence highlights the agonistic relationship between their two families and the difficulties associated with their union. Pio Fedi's training as a goldsmith and engraver is evident in the virtuoso carving of the rich fabrics and differing surfaces. The intricacy of the carving, together with the small scale of the group, lends to it a precious, jewel-like quality. The signature compares closely with that of Pio Fedi's Il sospetto in the Ashmoleon, also dated 1872, and which, according to Nicholas Penny, may have been sculpted as a special piece by Pio Fedi himself.
"Dream Lady", also known as the Eugene Field Memorial, is a bronze sculpture by Edward Francis McCartan (August 16, 1879 - September 20, 1947).
Eugene Field
It is located in Lincoln Park, Chicago.
Eugene Field (1850-1895) was an author and journalist, and wrote a humor column, "Sharps and Flats", for the Chicago Daily News. He was also well known as an author of poems for children.
The memorial cost $35,000, and was funded by public school children, citizens of Chicago and the B. F. Ferguson Monument Fund. It was dedicated on October 9, 1922.
Erected in 1922 by school children and citizens aided by the Benj. F. Ferguson Fund unsigned | From Wikipedia, the free Encyclopedia.
Edward Francis McCartan (August 16, 1879 - September 20, 1947) sculptor, was born in Albany, New York, the son of Michael McCartan, an Irish immigrant merchant of limited means, and Anna Hyland. McCartan began to draw instinctively at age five or six and by age ten had modeled a lion in clay. In his teens he entered Pratt Institute in Brooklyn, New York, and studied with Herbert Adams.
The Cellini Salt Cellar (in Vienna called the Saliera, Italian for salt cellar) is a part-enamelled gold table sculpture by Benvenuto Cellini. It was completed in 1543 for Francis I of France, from models that had been prepared many years earlier for Cardinal Ippolito d'Este. The Cellini Salt Cellar depicts a male figure representing the sea and a female figure that represents the earth. A small vessel meant to hold salt is placed next to the male figure. A temple-shaped box for pepper is placed next to the female figure.
Born in 1940 and died young, at fifty four years, in 1994, Pierre-Gérard Langlois was an French painter and lithographer. He signed some of his work the pseudonym G. Duroc.
He graduated from the Modern Arts School of Paris, then he attended the Academy of Beaux-Arts at Rouen and followed courses at the Ecole du Louvre. He had his first personal exhibition in 1965, in Paris at the Champs Elysées Théatre.
Thomas Sully (1783-1872) was born in 1783 in Horncastle, Lincolnshire, England, the youngest son of nine children born to the actors Matthew and Sarah Chester Sully. At the suggestion of his father's brother-in-law, a theater manager in Virginia and South Carolina, the Sullys emigrated to the United States in 1792. Sully attended school in New York until his mother's death in 1794, when he returned to live with his family in Richmond. From there they moved to Charleston, South Carolina, where the future artist performed on the stage with his parents and siblings.
Thomas Sully (June 19, 1783 – November 5, 1872) was an American portrait painter, who was born in Britain but lived most of his life in Philadelphia.
For biographical notes and works by Sully see Thomas Sully | Portrait painter.
Cornelis de Vos (1584-1651) was born into a Catholic family in Hulst, near the border between Holland and Flanders. This area was hotly disputed during the Eighty Years War (1568–1648) and in 1596 the De Vos family moved to Antwerp, confirming their Flemish rather than Dutch heritage. Soon after, Cornelis became an assistant in the workshop of the Antwerp artist David Remeeus, securing the young man’s place in the Flemish artistic tradition.
Probably painted around 1535 in the Northern Netherlands. The pansy symbolises thought (from the French 'pensée') and the skull is probably intended as a memento mori (a symbol of human frailty and reminder of death).
Maarten van Heemskerck (born 1498, Heemskerck, Holland-died 1574, Haarlem), one of the leading Mannerist painters in 16th-century Holland working in the Italianate manner.
He spent a period (c. 1528) in the Haarlem studio of Jan van Scorel, then lately returned from Italy. Van Heemskerck’s earliest works—“Ecce Homo” (Musée des Beaux-Arts, Ghent) and “St. Luke Painting the Portrait of the Virgin” (Frans Halsmuseum, Haarlem), both dated 1532—while adhering closely to the Romanist style of Scorel, seek to outdo it by dramatic lighting and illusionistic effects of plasticity.
Dutch Mannerist painter Maarten van Heemskerck (1498-1574) lived in Rome for four years (1532-36) and was deeply affected by the city's art and antiquities.
Here, the half-length, seated figure, the tense yet elegant hands, and even the grotesque classical mask reflect the impact of that experience, while the love of meticulously represented textures is traditionally associated with northern European art.
Salvator Rosa (1615-1673) was one of the least conventional artists of 17th-century Italy, and was adopted as a hero by painters of the Romantic movement in the later 18th and early 19th centuries. He was mainly a painter of landscapes, but the range of his subject matter was unusually wide and included portraits and allegories...
For biographical notes and works by Rosa, see Salvator Rosa | Baroque Era style.
Daniele Ricciarelli (c. 1509 - 4 April 1566), better known as Daniele da Volterra, was an Italian painter, Mannerist and sculptor.
Daniele's best-known painting is the Descent from the Cross in the Trinità dei Monti (circa 1545), after drawings by Michelangelo; by an excess of praise this work was at one time grouped with Raphael's Transfiguration and the Last Communion of St. Jerome by Domenichino as the most famous pictures in Rome.
Benato Natali (1883-1979) was born in Livorno-Italy, from a modest family, where perhaps the father, hatter by profession, led him to enroll at the School of Arts and Crafts. Not too temperamentally suited to the school system began to devote himself to drawing a self-taught, and even when one of his companions urged him to attend the study of Guglielmo Micheli little and did so against his will.
As he did in "The four seasons", in the series of "The four elements" Arcimboldo assigned to any element a face formed by the most characteristic of any of them. Nevertheless, the series possesses some elements that make it quite different, and even more interesting, than the previous one.
First, and contrary to the previous series, every face is formed by only one kind of element. The face of "The Earth" is formed exclusively by land animals, "The Air" is made of birds, and "The Water" by fish and marine animals.
Giuseppe Arcimboldo painted numerous series about "The four seasons" (one in a private collection in Bergamo, painted around 1572; another one, painted in 1573, in the Louvre Museum) being each of them a copy without many variations of the previous one, reflecting the success of the series. The painter represented the hypothetical faces of every season with the most typical element of any of them. Thus the face of the spring is made of flowers, the summer has a face of fruits and a body of wheat, while the autumn is a curious summary of fallen leaves, fruits and mushrooms.
Giuseppe Arcimboldo, also spelled Arcimboldi (1527-1593) was an Italian painter best known for working in the Mannerism style and for creating imaginative portrait heads made entirely of such objects as fruits, vegetables, flowers, fish, and books - that is, he painted representations of these objects on the canvas arranged in such a way that the whole collection of objects formed a recognisable likeness of the portrait subject.
For biographical notes and painting works by Arcimboldi see Part 1 - Painting.
Jimmy Lawlor was born in Wexford. He now lives in Westport, in the magnificent West of Ireland. Lawlor has been exhibiting for over 20 years.
His work is based not only on the Irish sense of humour, but on the vivid realisation that the old way of life will have vanished by our next generation.
His work takes elements from his surroundings and mixes them with the people of the place, in their environment and doing what they love best. In their own way, they have helped create the atmosphere around them, whether they be farmers, business people, students or otherwise.
Thomas Cole's renowned four-part series traces the journey of an archetypal hero along the "River of Life. Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of "Youth and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature's fury, evil demons, and self-doubt will threaten his very existence. Only prayer, Cole suggests, can save the voyager from a dark and tragic fate.
Louis Rémy Mignot (1831-1870) was among the Hudson River School style of painters and did numerous tropical landscapes of Panama and Ecuador as well as scenes of upper New York state and some of the Southern states. Louis Rémy Mignot was short lived, dying at age 39.
Louis Remy Mignot was born in 1831 in Charleston, South Carolina. His father Remy Mignot was a French Catholic immigrant who owned a confectionary shop in Charleston. His boyhood, during which he demonstrated a precocious artistic talent, seems to have been spent in his grandfather's home, near Charleston.
Frederic Edwin Church (1826-1900) was perhaps the best-known representative of the Hudson River School of landscape painting as well as one its most traveled. Born in Hartford in 1826, he was the privileged son of Joseph Church, a jeweler and banker of that city, who interceded with Connecticut scion and collector Daniel Wadsworth to persuade the landscape painter Thomas Cole to accept his son as a pupil.
From 1844-1846, Church studied with Cole in his Catskill, New York, studio and accompanied him on sketching sojourns in the Catskill Mountains and the Berkshires of Massachusetts. At one point, the master characterized the student as having "the finest eye for drawing in the world".
