Jacopo Amigoni
1685-1752 Italian Jacopo Amigoni Galleries He was born in Naples or Venice. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi. Starting in 1717, he is documented as working in Bavaria in the Castle of Nymphenburg (1719); in the castle of Schleissheim (1725-1729); and in the Benedictine abbey of Ottobeuren. He returned to Venice in 1726. His Arraignment of Paris hangs in the Villa Pisani at Stra. From 1730 to 1739 he worked in England, in Pown House, Moor Park and in the Theatre of Covent Garden. From there, he helped convince Canaletto to travel to England by telling him of the ample patronage available. From his travel to Paris in 1736, he met the celebrated castrato named Farinelli. Later in Madrid, he was to paint a self-portrait with the singer and entourage. He also encountered the painting of François Lemoine and Boucher. In 1739 he returned to Italy, perhaps to Naples and surely to Montecassino, in whose Abbey existed two canvases (destroyed during World War II). Until 1747, he travelled to Venice to paint for Sigismund Streit, for the Casa Savoia and other buildings of the city. In 1747 he left Italy and established himself in Madrid. There he became court painter to Ferdinand VI of Spain and director of the Royal Academy of Saint Fernando. He died in Madrid.

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Jacopo Amigoni Portrait of Barbara de Braganza oil painting


Portrait of Barbara de Braganza
Date 1750(1750) Medium Oil cyf
Painting ID::  80148
Jacopo Amigoni
Portrait of Barbara de Braganza
Date 1750(1750) Medium Oil cyf
   
   
     

Jacopo Amigoni Portrait of Marquis of Ensenada oil painting


Portrait of Marquis of Ensenada
1750(1750) Oil on canvas 104 x 124 cm cjr
Painting ID::  80153
Jacopo Amigoni
Portrait of Marquis of Ensenada
1750(1750) Oil on canvas 104 x 124 cm cjr
   
   
     

Jacopo Amigoni Portrait of a Lady oil painting


Portrait of a Lady
1st half of 18th century Medium Oil on canvas cyf
Painting ID::  80702
Jacopo Amigoni
Portrait of a Lady
1st half of 18th century Medium Oil on canvas cyf
   
   
     

Jacopo Amigoni Maria Antonietta of Spain oil painting


Maria Antonietta of Spain
1750(1750) Medium Oil on canvas cyf
Painting ID::  81689
Jacopo Amigoni
Maria Antonietta of Spain
1750(1750) Medium Oil on canvas cyf
   
   
     

Jacopo Amigoni Portrait of the Infanta Maria Antonia Fernanda oil painting


Portrait of the Infanta Maria Antonia Fernanda
1750(1750) Medium Oil on canvas cyf
Painting ID::  82760
Jacopo Amigoni
Portrait of the Infanta Maria Antonia Fernanda
1750(1750) Medium Oil on canvas cyf
   
   
     

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     Jacopo Amigoni
     1685-1752 Italian Jacopo Amigoni Galleries He was born in Naples or Venice. Amigoni initially painted both mythological and religious scenes; but as the panoply of his patrons expanded northward, he began producing many parlour works depicting gods in sensuous languor or games. His style influenced Giuseppe Nogari. Among his pupils were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner, and Antonio Zucchi. Starting in 1717, he is documented as working in Bavaria in the Castle of Nymphenburg (1719); in the castle of Schleissheim (1725-1729); and in the Benedictine abbey of Ottobeuren. He returned to Venice in 1726. His Arraignment of Paris hangs in the Villa Pisani at Stra. From 1730 to 1739 he worked in England, in Pown House, Moor Park and in the Theatre of Covent Garden. From there, he helped convince Canaletto to travel to England by telling him of the ample patronage available. From his travel to Paris in 1736, he met the celebrated castrato named Farinelli. Later in Madrid, he was to paint a self-portrait with the singer and entourage. He also encountered the painting of François Lemoine and Boucher. In 1739 he returned to Italy, perhaps to Naples and surely to Montecassino, in whose Abbey existed two canvases (destroyed during World War II). Until 1747, he travelled to Venice to paint for Sigismund Streit, for the Casa Savoia and other buildings of the city. In 1747 he left Italy and established himself in Madrid. There he became court painter to Ferdinand VI of Spain and director of the Royal Academy of Saint Fernando. He died in Madrid.

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