Antoine Pesne, född 23 maj 1683 i Paris, Frankrike, död 5 augusti 1757 i Berlin, Preussen, var en fransk målare under rokokon. Pesne gick i lära hos sin far, målaren Thomas Pesne, samt hos Charles de la Fosse i Paris. Under åren 1705?C1710 företog han en resa i Italien och vistades huvudsakligen i Venedig, där han anslöt sig till Andrea Celesti, vars måleri tydligt påverkade Pesnes tidiga verk. 1710 kallades han av kung Fredrik I av Preussen till Berlin som hovmålare. Därefter företog han under de följande åren kortare resor till hoven i Dessau (1715), Dresden (1718), London (1723) och Paris (1724). 1733 utnämndes Pesne till ledare för konstakademin i Berlin. Han anses vara en viktig förmedlare av den franska konsten till Brandenburg-Preussen. Pesne var i huvudsak verksam som porträttmålare, men han utförde även talrika vägg- och takmålningar för Fredrik den store i de kungliga slotten. Ett av Pesnes mest berömda konstverk är Dansösen Barbara Campanini (cirka 1745). Detta porträtt med sin lätta och schvungfulla formgivning, det spontana penseldraget och de ljusa, pastelliknande färgerna är karakteristiskt för Pesnes arbeten och för rokokon i allmänhet. På ett virtuost sätt framställer Pesne den med tygblommor dekorerade sidenklänningen. Fredrik den store uppskattade sin hovmålares berömda plein-air-porträtt och lät hänga det på en framträdande plats i sitt arbetsrum i slottet i Berlin.   Related Paintings of antoine pesne :. | Portrait of Henriette von Zerbsten | Portrait of Elisabeth Christine von Braunschweig-Bevern | Portrait of Anna Orzelska with a pug. | Frederick the Great as a child with his sister Wilhelmine | Geburt Christi |
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MOREELSE, Paulus
Dutch Baroque Era Painter, 1571-1638 Dutch painter, draughtsman, architect and urban planner. He was from a well-to-do family, which settled in Utrecht c. 1568. According to van Mander, Paulus studied with the Delft portrait painter Michiel van Mierevelt and was in Italy before 1596, the year he became an independent master in the saddlemakers' guild, to which Utrecht painters then belonged. On 8 June 1602 he married Antonia Wyntershoven, by whom he had at least ten children. The most famous of his many pupils was Dirck van Baburen, who studied with him in 1611, when the Utrecht artists set up their own Guild of St Luke. Moreelse was instrumental in this and became its first dean. In 1618, after a series of political disagreements, a number of citizens, including Moreelse and the painter Joachim Wtewael, petitioned the town council to resign. When that occurred, Moreelse became a member of the new council and continued to hold various public offices until his death. He was a strong supporter of plans to found a university in Utrecht and was closely involved in the preparations and in its opening in 1636
Georg Scholz
1890-1945 was a German realist painter. Scholz was born in Wolfenb??ttel and had his artistic training at the Karlsruhe Academy, where his teachers included Hans Thoma and Wilhelm Tr??bner. He later studied in Berlin under Lovis Corinth. After military service in World War I lasting from 1915 to 1918, he resumed painting, working in a style fusing cubist and futurist ideas. In 1919 Scholz became a member of the Communist Party of Germany, and his work of the next few years is harshly critical of the social and economic order in postwar Germany. His Industrial Farmers of 1920 is an oil painting with collage that depicts a Bible-clutching farmer with money erupting from his forehead, seated next to his monstrous wife who cradles a piglet. Their subhuman son, his head open at the top to show that it is empty, is torturing a frog. Perhaps Scholz' best-known work, it is typical of the paintings he produced in the early 1920s, combining a very controlled, crisp execution with corrosive sarcasm. Scholz quickly became one of the leaders of the New Objectivity, a group of artists who practiced a cynical form of realism. The most famous among this group are Max Beckmann, George Grosz and Otto Dix, and Scholz's work briefly vied with theirs for ferocity of attack. By 1925, however, his approach had softened into something closer to neoclassicism, as seen in the Self-Portrait in front of an Advertising Column of 1926 and the Seated Nude with Plaster Bust of 1927. Appointed a professor at the Baden State Academy of Art in Karlsruhe in 1925, the students he taught included Rudolf Dischinger. Scholz began contributing in 1926 to the satirical magazine Simplicissimus, and in 1928 he visited Paris where he especially appreciated the work of Bonnard. With the rise to power of Hitler and the National Socialists in 1933,
GARCIA, Pere
Spanish painter (active 1455-1479 in Barcelona)