1685-1766 French Jean Marc Nattier Gallery Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Academie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as cold. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Academie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage). The Tsar offered Nattier work at the Russian court, but the artist declined the offer. He remained in Paris for the rest of his life.  Related Paintings of Jean Marc Nattier :. | Peter I | Muse of Comedy | Portrait of a Lady | Mademoiselle de Sens | duquesa de orleans como hebe |
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Alexandre Calame
1810-1864 French Alexandre Calame Locations Swiss painter, draughtsman and printmaker. He studied under Francois Diday in Geneva and then travelled to Paris (1837), to the Netherlands and Desseldorf (1838), to Italy (1844) and to London (1850). Despite his frail health he spent each summer painting in the mountains of the Bernese Oberland and central Switzerland, where he produced the drawings and studies from nature that were later used in his studio compositions. A fervent Calvinist, he saw his subjects.
FURINI, Francesco
Italian Baroque Era Painter, 1603-1646 Italian painter. He was one of the leading Florentine painters of the first half of the 17th century, famous for the ambiguous sensuality and sfumato effects of his many paintings of female nudes. He first studied with his father, Filippo Furini, nicknamed Pippo Sciamerone and described by Baldinucci as a portrait painter, and he completed his apprenticeship in the studios of Domenico Passignano and of Giovanni Bilivert. Inspired by an admiration for Classical sculpture, which he studied in the Medici collection in Florence, and for Raphael, he travelled to Rome, which he reached as early as 1619 (Gantelli, see 1972 exh. cat.). Here he came into contact with Bartolomeo Manfredi and with Giovanni da San Giovanni. In 1623 he assisted the latter on the frescoes of the Chariot of the Night in the Palazzo Bentivoglio (now Pallavicini-Rospigliosi), commissioned by Cardinal Guido Bentivoglio, and also perhaps on the lower paintings (1623-4) in the apse of the church of SS Quattro Coronati, Rome.
MONTAGNA, Bartolomeo
Italian Early Renaissance Painter, 1450-1523 Painter and draughtsman. Montagna is first documented in 1459 in Vicenza as a minor and, still a minor, in 1467. In 1469 he is recorded as a resident of Venice. In 1474 he was living in Vicenza where, in 1476 and 1478, he was commissioned to paint altarpieces (now lost). He has variously been considered a pupil of Andrea Mantegna (Vasari), Giovanni Bellini, Antonello da Messina, Alvise Vivarini, Domenico Morone and Vittore Carpaccio. While none of these artists, except Carpaccio, was irrelevant to Montagna's stylistic formation, scholars agree that Giovanni Bellini was the primary influence on his art. He may have worked in Bellini's shop around 1470. Several of Montagna's paintings of the Virgin and Child in which the influence of Antonello da Messina is especially marked (e.g. two in Belluno, Mus. Civ.; London, N.G., see Davies, no. 802) are likely to be close in date to Antonello's sojourn in Venice (1475-6); they are therefore best considered Montagna's earliest extant works (Gilbert, 1967) rather than as an unexplained parenthesis around 1485 between two Bellinesque phases (Puppi, 1962). These early paintings appear to be followed by others in which the geometrically rounded forms derived from Antonello become more slender and sharper-edged. Their figures are imbued with a deeply felt, individual humanity, sometimes austere and minatory, sometimes tender. Among them are some larger-scale works, for example the Virgin and Child Enthroned with SS Nicholas and Lucy (Philadelphia, PA, Mus. A.) and a Virgin and Child Enthroned with SS Ansanus, Anthony Abbot, Francis and Jerome