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Tommaso Minardi
Self Portrait
1807
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Tommaso
Minardi(b Faenza, 4 Dec 1787; d
Rome, 12 Jan 1871).
Italian painter, draughtsman, teacher and theorist. He
studied drawing with the engraver Giuseppe Zauli (1763–1822)
who imbued Minardi with his enthusiasm for 15th-century
Italian art and introduced him to his large collection of
engravings after the work of Flemish artists such as Adriaen
van Ostade. However, Minardi was strongly influenced by the
Neo-classical painter Felice Giani, who ran a large workshop
in Faenza, and whose frescoes of mythological scenes
(1804–5) at the Palazzo Milzetti he saw being painted. In
1803 he went to Rome on an annual stipend provided by Count
Virgilio Cavina of Faenza (1731–1808), and he received
(1803–8) additional financial assistance from the
Congregazione di S Gregorio. He was given the use of Giani’s
studio and through him met Vincenzo Camuccini who, with
Canova, dominated the artistic establishment in Rome at that
time. Although Minardi learnt the precepts of Neo-classicism
from Camuccini, he did not share his interest in heroic art.
His first works done in Rome show his interest in the theme
of master and acolyte. In Socrates and Alcibiades
(1807; Faenza, Pin. Com.), for example, he has included
himself among a group of elderly philosophers and young
students who are placed on either side of a portrait bust of
Zauli. He sent this drawing to his patrons, the
Congregazione di S Gregorio, no doubt to reassure them of
his aptitude and moral correctness. Supper at Emmaus
(c. 1807; Faenza, Pin. Com.) was another painting
destined for the same patrons. The confined pictorial space,
with a single source of light entering through a small
window, and the casual poses of the figures are reminiscent
of Flemish art and of the works of the northern Caravaggisti,
familiar to the artist through engravings. From 1808 to 1813
he had an alunnato from the Accademia di Belle Arti
in Bologna and sent back the painting Diogenes (1813;
Bologna, Pin. N.), which is unusual both in its bold design
and large size.
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Tommaso Minardi
The Virginof the Rosary
1840
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Tommaso Minardi
Omero cieco in casa del pastore Glauco
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Tommaso MinardiLa Missione degli Apostoli
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Pietro Tenerani
(b Torano, Massa e Carrara, 11 Nov 1789; d Rome,
14 Dec 1869).
Italian sculptor. From 1803 he trained under Lorenzo Bartolini at
the Accademia di Belle Arti in Carrara, where he was also influenced
by his uncle, Pietro Marchetti ( fl 1789–1850), the professor
of sculpture, and by the French painter Jean-Baptiste Frédéric
Desmarais (1756–1813). In 1813 he won a scholarship to study in Rome
and moved there in 1814. He visited art exhibitions and museums,
took lessons in painting the nude at the Académie de France and
attended the studio of Gaspare Landi. As a fundamental test for all
aspiring sculptors, he copied one of The Dioscuri, colossal
Roman statues of Castor and Pollux located on Monte Cavallo (now
Piazza del Quirinale), though he destroyed his copy. In 1816 he
received significant recognition by winning the Premio
dell’Anonimo, instituted by Canova, for his much-acclaimed
Risen Redeemer (untraced). Towards the end of 1815 he came into
contact with Bertel Thorvaldsen and worked with him in his studio in
the Piazza Barberini.
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Pietro Tenerani
Flora
1840
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Pietro Tenerani
Psyche in a Faint
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Pietro Tenerani
Portrait Bust of Tatyana Stroganova
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Pietro Tenerani
Sculptural Portrait of Prince Mikhail Vorontsov
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Pietro Tenerani
Bust of a Girl
1837
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Pietro Tenerani
History
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Pietro Tenerani
Monument to Maria Colonna Lante
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Pietro Tenerani
Monument to Mary Bold, Princess Sapieha
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Pietro Tenerani
Tomb of Eugene de Beauharnais
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THE FRENCH PRIMITIVES
Two students of David,
Pierre-Henri Revoil (1776-1842), an author of
medieval romances, and Fleury-Francois Richard (1777-1852), heralded
what was to become the troubadour style by reviving the subjects and
style or the medieval age in their paintings. A vision of chivalry
was the subject of Revoil's
The Tourney, exhibited at the Salon of
1812. His research into the costumes and architecture was conducted
with the scrupulous love and care becoming to the illumination of a
medieval codex, and he achieved a superb vision of the period. By
contrast, Paul Delaroche (1776-1856) interpreted historical,
religious, and literary subjects with factual accuracy and a
particularly theatrical tone. Another medievalist.
Hippolyte-Jean
Flandrin (1809-64), imitated the style and iconography of the
Italian artists, drawing upon the Byzantine and Giotto-inspired
repertories for his frescos in the church of Saint-Germain-des-Pres
in Paris (1846).
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Pierre-Henri Revoil
(b Lyon, 12 June 1776; d Lyon, 19 March 1842).
French painter and collector. He entered the Ecole de Dessin in Lyon
around 1791 as a pupil of Alexis Grognard (1752–1840). He then
became a designer in a wallpaper factory. In 1795 he began working
in Jacques-Louis David’s studio, where, with Fleury Richard, Comte
Auguste de Forbin, François-Marius Granet and Louis Ducis, he
belonged to what David’s pupils called the ‘parti aristocratique’.
In 1800 he published with Forbin, who remained a friend, a comedy
that was performed at the Théâtre du Vaudeville, Sterne à Paris,
ou le voyageur sentimental. In 1802, on the occasion of the
laying of the first stone of the Place Bellecoeur in Lyon by the
First Consul, Révoil executed a large and elaborately allegorical
drawing, Bonaparte Rebuilding the Town of Lyon (preparatory
drawings, Paris, Louvre, and Lyon, Mus. B.-A.), which was the basis
for a painting exhibited in the Salon of 1804 (destr. by the artist,
1816). During the same period he composed a number of religious
paintings, for example In Honour of the Sacred Heart of Jesus
and Christ on the Cross (both Lyon, St Nizier). In 1807
Révoil was appointed a teacher in the recently founded Ecole des
Beaux-Arts in Lyon. His teaching was marked by considerable
erudition and contributed to the birth of the ‘Lyon school’, which
came to the fore in the 1820s.
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Pierre-Henri Revoil
The Tourney
1812
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Fleury-Francois Richard
Francois I Presented to Louis XII
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Fleury-Francois Richard
(b Lyon, 25 Feb 1777; d Ecully, Rhône, 14
March 1852).
French painter. After being taught by Alexis Grognard
(1752–1840) at the Ecole de Dessin in Lyon, he entered
Jacques-Louis David’s studio in 1796, where he was part of
the group that included Pierre Révoil, Comte Auguste de
Forbin and François-Marius Granet. His earliest works, such
as Death of Constantine (untraced), were in a banal
Neo-classical style. However, he exhibited a painting in the
Salon of 1800 that was novel in both subject and atmosphere:
St Blandine (untraced; known from a drawing by A. M.
Monsaldy, Paris, Bib. N.). It honoured a medieval saint, a
heroine who was French, Christian and from Lyon; the scene
was set in a crypt painted from life (St Irénée in Lyon) and
exploited a strong chiaroscuro. Henceforth Richard took his
inspiration from French history. At the Salon of 1802 he
exhibited Valentina of Milan Weeping over the Death of
her Husband (untraced; known from an engraving by
Auguste Fauchery), which proved to be a huge success. The
painting was hailed as an innovation and can be considered
the first picture in the TROUBADOUR STYLE. Richard combined
the genre scene and anecdote from national history, using a
technique inherited from 17th-century Dutch painters.
Wishing, as he wrote, to ‘ennoble the humble bambocciata
tradition’, he introduced a moral example of the widow
faithful to her husband’s memory. The picture owed its
success to the fact that Richard had both displayed a
certain exoticism by placing the figure in a medieval
oratory and transposed the severe, classical exemplum
virtutis into a simpler and more moving genre.
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Fleury-Francois Richard
Valentine of Milan Mourning her Husband, the Duke of Orleans
1802
The Hermitage, St. Petersburg
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Fleury-Francois Richard
Death of the Prince de Talmont
1823
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Fleury-Francois Richard
Little Red Riding Hood
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see collections:
Pierre-Henri Revoil
Paul Delaroche
Hippolyte-Jean
Flandrin
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