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Renaissance painter?

Renaissance painter? Topic: Dream research articles
June 25, 2019 / By Joye
Question: hey! i have to do research on this painting but i cant figure out who painted it or when. please help!!! here's a link to the painting: http://www.renaissanceastrology.com/images/skullbook.jpg please help!!!!
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Best Answers: Renaissance painter?

Ghislaine Ghislaine | 9 days ago
It reminds me of a detail from one of the many paintings of St. Jerome, although the Saint was usually (but not always) depicted with a finger on or pointing at the skull (as in Albrecht Durer's work). Otherwise it resembles one of the 16th-17th-century "vanitas" still lifes, which depicted a skull and often a book, among other articles. Wait... I just found it. It's a detail from this painting by Antonio de Pereda, callled "The Knight's Dream": http://commons.wikimedia.org/wiki/Image:... (It dates from 1608, so it's NOT Renaissance.)
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Ghislaine Originally Answered: Does anybody knows this painter JOHN S. SARGENT is he a famous painter?
john Singer Sargent (January 12, 1856 – April 14, 1925) was the most successful portrait painter of his era,[1][2] as well as a gifted landscape painter and watercolorist. Sargent was born in Florence, Italy to American parents. Sargent studied in Italy and Germany, and then in Paris under Emile Auguste Carolus-Duran. Contents [hide] * 1 Training * 2 Works o 2.1 Portraits o 2.2 Other work o 2.3 Relationships * 3 Assessment * 4 Posthumous sales * 5 Selected works * 6 Notes * 7 References * 8 External links [edit] Training Sargent studied with Carolus-Duran, whose influence would be pivotal, from 1874-1878. Carolus-Duran's atelier was progressive, dispensing with the traditional academic approach which required careful drawing and underpainting, in favor of the alla prima method of working directly on the canvas with a loaded brush, derived from Diego Velázquez. It was an approach which relied on the proper placement of tones of paint.[3] In 1879, Sargent painted a portrait of Carolus-Duran; the virtuoso effort met with public approval, and announced the direction his mature work would take. Its showing at the Paris Salon was both a tribute to his teacher and an advertisement for portrait commissions.[4] Of Sargent's early work, Henry James wrote that the artist offered 'the slightly "uncanny" spectacle of a talent which on the very threshold of its career has nothing more to learn'.[5] [edit] Works [edit] Portraits In the early 1880s Sargent regularly exhibited portraits at the Salon, and these were mostly full-length portrayals of women: Madame Edouard Pailleron in 1880, Madame Ramón Subercaseaux in 1881, and Lady with the Rose, 1882. He continued to receive positive critical notice.[6] Frederick Law Olmsted, 1895, oil on canvas, 91 x 61 1/4 in. Frederick Law Olmsted, 1895, oil on canvas, 91 x 61 1/4 in. Sargent's best portraits reveal the individuality and personality of the sitters; his most ardent admirers think he is matched in this only by Velázquez, who was one of Sargent's great influences. The Spanish master's spell is apparent in Sargent's The Daughters of Edward Darley Boit, 1882, a haunting interior which echoes Velázquez' Las Meninas.[7] Sargent's Portrait of Madame X, done in 1884, is now considered one of his best works, and was the artist's personal favorite; eventually Sargent sold it to the Metropolitan Museum of Art. However, at the time it was unveiled in Paris at the 1884 Salon, it aroused such a negative reaction that it prompted Sargent to move to London.[8] Prior to the Mme. X. scandal of 1884, he had painted exotic beauties such as Rosina Ferrara of Capri, and the Spanish expatriate model, Carmela Bertagna, but the earlier pictures had not been intended for broad public reception. Before his arrival in England, Sargent began sending paintings for exhibition at the Royal Academy. These included the portraits of Dr. Pozzi at Home, 1881, a flamboyant essay in red, and the more traditional Mrs. Henry White, 1883. The ensuing portrait commissions encouraged Sargent to finalize his move to London in 1886.[9] His first major success at the Royal Academy came in 1887, with the enthusiastic response to Carnation, Lily, Lily, Rose, a large piece, painted on site, of two young girls lighting lanterns in an English garden. The painting was immediately purchased by the Tate Gallery. In 1894 Sargent was elected an associate of the Royal Academy, and was made a full member three years later. In the 1890s he averaged fourteen portrait commissions per year, none more beautiful than the genteel Lady Agnew of Lochnaw, 1892. As a portrait painter in the grand manner, Sargent's success was unmatched; his subjects were at once ennobled and often possessed of nervous energy (Mrs. Hugh Hammersley, 1892). With little fear of contradiction, Sargent was referred to as 'the Van Dyck of our times'.[10] Sargent painted a series of three portraits of Robert Louis Stevenson. The second, Portrait of Robert Louis Stevenson and his Wife (1885), was one of his best known.[11] He also completed portraits of two U.S. presidents: Theodore Roosevelt and Woodrow Wilson. [edit] Other work During the greater part of Sargent's career, he created roughly 900 oil paintings and more than 2,000 watercolours, as well as countless sketches and charcoal drawings. From 1907[12] on Sargent forsook portrait painting and focused on landscapes in his later years; [13] he also sculpted later in life. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, Montana and Florida, and each destination offered pictorial treasure. As a concession to the insatiable demand of wealthy patrons for portraits, however, he continued to dash off rapid charcoal portrait sketches for them, which he called "Mugs". Forty-six of these, spanning the years 1890-1916, were exhibited at the Royal Society of Portrait Painters in 1916.[14] Sargent is usually not thought of as an Impressionist painter, but he sometimes used impressionistic techniques to great effect, and his Claude Monet Painting at the Edge of a Wood is rendered in his own version of the impressionist style. Although Sargent was an American expatriate, he returned to the United States many times, often to answer the demand for commissioned portraits. Many of his most important works are in museums in the U.S.; in 1909 he exhibited eighty-six watercolours in New York City, eighty-three of which were bought by the Brooklyn Museum.[15] His mural decorations grace the Boston Public Library.[16] For this commission, a series of oils on the theme of The Triumph of Religion that were attached to the walls of the library by means of marouflage, Sargent made numerous visits to the United States in the last decade of his life, including a stay of two full years from 1915-1917.[17] It is in some of his late works where one senses Sargent painting most purely for himself. His watercolors, often of landscapes documenting his travels (Santa Maria della Salute, 1904, Brooklyn Museum of Art), were executed with a joyful fluidness. In watercolours and oils he portrayed his friends and family dressed in Orientalist costume, relaxing in brightly lit landscapes that allowed for a more vivid palette and experimental handling than did his commissions (The Chess Game, 1906).[18] [edit] Relationships Among the artists with whom Sargent associated were Dennis Miller Bunker, Carroll Beckwith, Edwin Austin Abbey (who also worked on the Boston Public Library murals), Francis David Millet, Wilfrid de Glehn, Jane Emmet de Glehn and Claude Monet, whom Sargent painted. Sargent developed a life-long friendship with fellow painter Paul César Helleu, whom he met in Paris in 1878 when Sargent was 22 and Helleu was 18. Sargent painted both Helleu and his wife Alice on several occasions, most memorably in the impressionistic Paul Helleu Sketching with his Wife, 1889. His supporters included Henry James, Isabella Stewart Gardner (who commissioned and purchased works from Sargent, and sought his advice on other acquisitions),[19] and Edward VII, whose recommendation for knighthood the artist declined.[20] Theodore Roosevelt, 1903 Theodore Roosevelt, 1903 Sargent was extremely private regarding his personal life, although the painter Jacques-Émile Blanche, who was one of his early sitters, said after his death that Sargent's sex life "was notorious in Paris, and in Venice, positively scandalous. He was a frenzied bugger."[21] The truth of this may never be established. Some scholars have suggested that Sargent was homosexual. He had personal associations with Prince Edmond de Polignac and Count Robert de Montesquiou. His male nudes reveal complex and well-considered artistic sensibilities about the male physique and male sensuality; this can be particularly observed in his portrait of Thomas E. McKeller, but also in Tommies Bathing, nude sketches for Hell and Judgement, and his portraits of young men, like Bartholomy Maganosco and Head of Olimpio Fusco. However, there were many friendships with women, as well, and a similar sensualism informs his female portrait and figure studies (notably Egyptian Girl, 1891). The likelihood of an affair with Louise Burkhardt, the model for Lady with the Rose, is accepted by Sargent scholars.[22] [edit] Assessment In a time when the art world focused, in turn, on Impressionism, Fauvism, and Cubism, Sargent practiced his own form of Realism, which brilliantly referenced Velázquez, Van Dyck, and Gainsborough. His seemingly effortless facility for paraphrasing the masters in a contemporary fashion led to a stream of commissioned portraits of remarkable virtuosity (Arsène Vigeant, 1885, Musées de Metz ; Mr. and Mrs. Isaac Newton Phelps-Stokes, 1897, Metropolitan Museum of Art, New York) and earned Sargent the moniker, "the Van Dyck of our times."[23] Still, during his life his work engendered critical responses from some of his colleagues: Camille Pissarro wrote "he is not an enthusiast but rather an adroit performer",[24] and Walter Sickert published a satirical turn under the heading "Sargentolatry".[25] By the time of his death he was dismissed as an anachronism,[26] a relic of the Gilded Age and out of step with the artistic sentiments of post-World War I Europe. Foremost of Sargent's detractors was the influential English art critic Roger Fry, of the Bloomsbury Group, who at the 1926 Sargent retrospective in London dismissed Sargent's work as lacking aesthetic quality.[27] Despite a long period of critical disfavor, Sargent's popularity has increased steadily since the 1960s, and Sargent has been the subject of recent large-scale exhibitions in major museums, including a retrospective exhibition at the W
Ghislaine Originally Answered: Does anybody knows this painter JOHN S. SARGENT is he a famous painter?
There is a new video out about the famous artist called "John Singer Sargent : Secrets of Composition and Design " http://jasonalster.com/John_Singer_Sargent_.php

Dena Dena
I don't know who painted it, it's definetly not renaissance this is a still life and we do not see still lifes during the renaissance. I'm trying to define the style to a specific painter but i'm having trouble, the painting is to small and the genre too widely used so as to narrow it down.It could be late 17th early 18th century italian, but it looks typical of spanish art, a "vanitas" or "memento mori" to be more precise. This style of painting serves to remind the viewer of his/her mortality.
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Calanthia Calanthia
Leo or Albert Durer. It is Renaissance so start there, well okay it might be Late Medieval, I doubt it somehow.
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Calanthia Originally Answered: What can I do about a missing painter?
If you want to lay claim to his equipment then a breach of contract suit is the ONLY way you can do that legally. You have no legal claim to his equipment. Generally paying in full should be delayed until after your final inspection of his work. That is a lesson you already learned. You can hire someone else and BILL him for the difference.... but that is going to involve a lawsuit too before you ever get paid back. If I was you.... I would NOT conclude he has an emergency. I would say he is like virtually EVERY contractor under the sun. They book as many jobs as possible... and scramble for a way to complete them all. Generally that involves completing NONE of the jobs on time. That is the basis for a large percentage of construction lawsuits.... so I would conclude that he is BLOWING YOU OFF TO MAKE MONEY ELSEWHERE. Especially since you already paid him for the ENTIRE job. A call that says, "I have contacted an attorney, I have placed your equipment in a storage facility, you have 48 hours to remedy this or a lawsuit will be filed in County Court. Your equipment will remain in storage at YOUR expense until the judge orders it released or you finish the job to my satisfaction. Have a nice day." Should basically do the trick. Right now, since your job is "almost" done you are probably LOW on his TO DO list. A phone call that threatens his equipment and a lawsuit might very well shake him form that attitude. Good luck. EDIT: Sorry no.... you cannot barter with his equipment. That would be theft. Think about it this way.... if a person is late on their mortgage is the bank free to take their car? His equipment is not collateral and was not part of your contract. Now... if you sued and won.... and were granted permission from the court to sell the equipment then you COULD... as long as you got fair and reasonable value for it.... and used that money to offset some of what he owes you. Right now he owes you nothing but a completed job under the contract. Taking matters into your own hands will make you into the bad guy here in the eyes of the law. And honestly...unless there was a time frame included in the contract... your painter may not technically be in breach YET. Also.... since you are at the "threatening" to sue stage... you can just tell the man you put his stuff in storage.... then you can move it to your garden shed so it doesn't actually cost you storage fees yet. If he pushes back.... do exactly what you said you would do (call a lawyer and put his equip. in storage.) And I guess if you want a lesson in amateur psychology read on to the next post. Frankly.... I disagree ENTIRELY with that post. When you sign a contract.... you have a legally enforceable deal....PERIOD. You did not "enable" this PRlCK... you simply took him at his word. My point is.... most contractors "word" isn't worth CRAP.... thus the written contract. You have the right to enforce it.... I suggest you do so. Finally.... this is an open and shut case of breach.... he agreed to complete a job.... you fulfilled your end of the contract (payment).... he failed to complete his end of the contract = BREACH. Any first year law student can tell you that much. Point is.... if you are comfortable with it.... you can file the summons and complaint yourself.... and save the attorney fees. Or you can file in small claims court.... where no attorneys are allowed.

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