Swedish painter, etcher and sculptor. He was brought up by his grandparents at Mora. As he displayed a precocious talent for drawing he was admitted to the preparatory class of the Kungliga Akademi for de Fria Konsterna, Stockholm, at the age of 15. Dissatisfied with the outdated teaching and discipline of the Academy and encouraged by his early success as a painter of watercolour portraits and genre scenes (e.g. Old Woman from Mora, 1879; Mora, Zornmus.) Zorn left the Academy in 1881 to try to establish an international career. He later resided mainly in London but also travelled extensively in Italy, France, Spain, Algeria and the Balkans and visited Constantinople. However, he continued to spend most of his summers in Sweden. Related Paintings of Anders Zorn :. | ankan och barnet | Unknow work 4 | beduinflicka | min emma | sjalvportratt i brun kavaj |
Related Artists:Francis Oliver Finch
British watercolour painter, 1802-1862lyonel feininger
Painter, printmaker and illustrator. Although he was sent to Germany as a teenager to study music, a drawing class at the Kunstgewerbeschule in Hamburg instead sparked an interest in art, which led to further training at the Akademie der K-nste in Berlin and in 1892-3 at the Acad?mie Colarossi in Paris. Returning to Berlin, he was a prominent illustrator by the mid-1890s for Ulk, Lustige Bl?tter and other leading German satirical magazines. His work also appeared in the USA, first for Harper's Round Table in 1894 and 1895 and in 1906-7 in the comic strips 'The Kin-der-Kids' and 'Wee Willie Winkie's World' for the Chicago Sunday Tribune, by which time he was again in Paris. There he was also in contact with Wilhelm Uhde, Jules Pascin and other members of the circle that met at the Caf- du D?me and produced a series of drawings for Le T-moin. While often alluding to serious contemporary issues, the style of his illustrations and drawings was fanciful rather than grotesque.
Italian Mannerist Painter, 1535-1607
Born in Florence. After the death of his father in 1540 he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy.
Freedburg derides Allori as derivative, claiming he illustrates "the ideal of Maniera by which art (and style) are generated out of pre-existing art." The polish of figures has an unnatural marble-like form as if he aimed for cold statuary. It can be said of late phase mannerist painting in Florence, that the city that had early breathed life into statuary with the works of masters like Donatello and Michelangelo, was still so awed by them that it petrified the poses of figures in painting. While by 1600 the Baroque elsewhere was beginning to give life to painted figures, Florence was painting two-dimensional statues. Furthermore, in general, with the exception of the Contra Maniera artists, it dared not stray from high themes or stray into high emotion.