the painting of Amedeo Modigliani
the Beautiful paintings from Alexei Antonov
Beautiful paintings with watercolors, oil color and oil painting
Mariotto di Bigio di Bindo Albertinelli (October 13, 1474 – November 5, 1515) was a High Renaissance Italian painter of the Florentine school, closely involved with Fra Bartolomeo and influenced by Raphael.
Mariotto Albertinelli was born in Florence. As a 12-year old boy, he became a pupil of Cosimo Rosselli, and a fellow-pupil with Fra Bartolomeo with whom he formed such an intimate brotherly rapport that in 1494 the two started their own studio in Florence. Vasari’s opinion was that Mariotto was not so well grounded in drawing as Bartolomeo, and he tells that, to improve his hand he had taken to drawing the antiquities in the Medici garden, where he was encouraged by Madonna Alfonsina, the mother of Duke Lorenzo II de’ Medici.
When the Medici were temporarily banished in 1494, he returned to his friend, whose manner he copied so assiduously, according to Vasari, that his works were taken for Baccio’s. When, in the wake of Savonarola’s morality campaign, Baccio joined the Dominican order as Fra Bartolomeo in 1500 and gave up painting, Albertinelli, beside himself with the loss, would have joined him; but, spurred by his success in completing an unfinished Last Judgment of Bartolomeo’s, he resolved to carry on alone. Among his many students were Jacopo da Pontormo, Innocenzo di Pietro Francucci da Imola and Giuliano Bugiardini.
Mariotto was a most restless person and carnal in the affairs of love and apt to the art of living, and, taking a dislike to the studies and brain-wracking necessary to painting, being also often stung by the tongues of other painters, as is their way, he resolved to give himself to a less laborious and more jovial profession, and so opened the most lovely hostelry outside the Porta San Gallo, and at the sign of the Dragon at the Ponte Vecchio a tavern and inn. This life he led for many months, saying that he had taken up an art that was without muscles, foreshortening or perspective and, better still, without faultfinding, and that the art that he had given up imitated flesh and blood, but this one created flesh and blood; in this if you had good wine you heard yourself praised, but in that every day you were blamed. But at last the low life became an annoyance to him, and, filled with remorse, he returned to painting.
Albertinelli’s paintings bear the imprint of Perugino’s sense of volumes in space and perspective, Fra Bartolomeo’s coloring, the landscape portrayal of Flemish masters like Memling, and Leonardo’s Sfumato technique. His chief paintings are in Florence, notably his masterpiece, the Visitation (1503) at the Uffizi (illustrated right).
Tadeusz Ajdukiewicz (1852 – January 9, 1916) was a Polish painter.
He was born in Wieliczka. From 1868 to 1873, he studied under Władysław Luszczkiewicz in the Fine art school of Krakow. Later, he travelled to Vienna and Munich, and studied in Józef Brandt’s atelier. In 1877, Ajdukiewicz travelled to Paris and the Near East. In 1882, he lived in Vienna, where he worked for the aristocracy. He painted a portrait of the Prince of Wales in 1883 while staying in London. He travelled to Constantinople in 1884, and was sultan Abdhulhamid II’s guest. Subsequently, he worked in Sofia, Saint Petersburg and Bucharest. He joined the Polish Legions in 1914, during World War I, and he died in battle in Kraków on January 9, 1916.
His first cousin was Zygmunt Ajdukiewicz.
Friedrich von (April 14, 1803 – January 14, 1887) was an Austro-Hungarian portrait painter in the court of Franz Josef. He was born in Vienna and was court painter between 1835 and 1880. With Ferdinand Georg Waldmüller he is one of the outstanding Austrian portrait painters of the 19th century.
He was the son of the gold- and silversmith Franz Amerling and Theresia Kargl. He studied from 1815 to 1824 at the academy of the arts in Vienna, before journeying to Prague where he studied at the Academy until 1826. He spent 1827 and 1828 in London, where he was influenced by the portrait painter Sir Thomas Lawrence. Further journeys led him to Paris, where he studied with Horace Vernet, and Rome; he then returned to Vienna, where after 1828 he worked for the Austrian court, the aristocracy and middle class. He received the Reichel prize of the academy in Vienna in 1829.
Amerling spent much time traveling: in 1836 and 1838 to Italy, 1838 to the Netherlands, 1839 to Munich, 1840-43 in
Rome, 1882 in Spain, 1883 in England, 1884 in Greece, 1885 in Skandinavia up to Norway’s North Cape and 1886 to Egypt and Palestine. He was married four times: to Antonie Kaltenthaler from 1832 until her death in 1843; from 1844–45 to Katharina Heissler (ending in divorce); from 1857 until her death in 1880 with Emilie Heinrich; and finally to Maria Nemetschke from 1881 until his death.
In 1878 Amerling was elevated to the nobility and was called Friedrich Ritter von Amerling (Friedrich, knight of
Amerling). As one of the most outstanding artists of Vienna he received numerous important men of letters and musicians (such as Franz Liszt) at home. In 1858 he acquired the Gumpendorf castle in Vienna and equipped it after his taste with valuable art treasures. The building was therefore called, in the vernacular, Amerlingschloessl.
Apart from numerous other honors, he received the Orden der Eisernen Krone in 1879. Upon his death in 1887, a
street in Vienna was designated the Amerlingstrasse in his name. He was buried in the Viennese central cemetery, where he is commemorated with a monument designed by Johannes Benk. The same artist also created the Amerling monument in the Viennese city park, dedicated in 1902.
In 1948 the Austrian post office issued a special stamp on the 60th anniversary of Friedrich von Amerling’s death. On 3 March 2008 the Austrian Post Office issued another Amerling stamp. This time it was one of a series commemorating
the Liechtenstein Museum in Vienna and featured Princess Marie Franziska of Liechtenstein.
(22 August 1768 – 4 October 1818) was an Austrian historical painter and etcher.
Abel was born in Aschach an der Donau. He visited the Academy in Vienna, which was at the time directed by Friedrich Heinrich Füger, and was one of his best scholars. Abel developed an interest for the ancient world, reflecting a popular direction in the art of the beginning of the XIX century in Germany and France. During the years 1801–1807, he studied in Italy, then returned to Vienna where he became member of the Academy on 8 February 1815 and remained till his death in 1818.
Portrait of a young man with glasses
Among his famous works are paintings and etchings of Klopstock in Elysium, Orestes and Electra, Socrates and Theramenes as well as Emperor Francis I of Austria. He also painted the figural part of the front curtain of the old Burgtheater under directions of Füger.
For some time it is discussed, that his portrait of a young man with glasses is a portrayal of the young Franz Schubert.