15 Works, Today, March 27th. is artist Per Aass Deberitz's day, his story, illustrated with footnotes #85

Per Deberitz (Norwegian, 1880–1945)

Sommer, Justoya/ Summer, Justoya , c. 1917

Oil on canvas

86 x 98 cm. (33.9 x 38.6 in.)

Private collection

Justøya or Justøy is an island in Lillesand municipality in Agder county, Norway. The name comes from Old Norse word Jóstr.

Per Aass Deberitz (also Peder Deberitz, 27 March 1880 – 14 October 1945) was a Norwegian painter. He was regarded as a neo-impressionist and was also a pupil of Henri Matisse during the years of his stay in Paris from 1909 to 1910.

Per Deberitz

Fra Seinen i Paris/ From the Seine in Paris, c. 1924

Oil on canvas

36x44,5cm 

Private collection

The name Seine comes from Gaullish Sēquana, from the Celtic Gallo-Roman goddess of the river, offerings for her were found at the source.

The Seine is a 775-kilometre-long river in northern France. Its drainage basin is in the Paris Basin covering most of northern France. There are 37 bridges in Paris across the Seine. More on the Seine

Per Deberitz

Pont Neuf, Paris, c. 1924

Oil on board

37x46cm 

Private collection

The Pont Neuf ("New Bridge") is the oldest standing bridge across the river Seine in Paris, France. It stands by the western point of the Île de la Cité, the island in the middle of the river that was, between 250 and 225 BC, the birthplace of Paris, then known as Lutetia and, during the medieval period, the heart of the city. More on The Pont Neuf

Per Deberitz

From Paris, c. 1924

Oil on canvas

38x45cm 

Private collection

Deberitz was born in Drøbak, Norway. When he was two years old, Deberitz's family moved to the village of Borre in Horten, Vestfold, where he grew up. The famed painter Edvard Munch, who had rented lodgings with the family during the summers of 1885 and 1886, lent painting materials to the boy and encouraged his artistic efforts.

From 1898 to 1899 Deberitz was a pupil at the Norwegian National Academy of Craft and Art Industry in Kristiania. In the summers of 1899 and 1900, he also had lessons from the romanticist painter Hans Gude at the latter's “Sølvkronen” villa in Horten. During the winters of 1903–1904 and 1906–1907 he was at Artists Studio School in Copenhagen.

Per Deberitz (Norwegian, 1880–1945)

Arne Kavlis hustru i hagen på Rønnes/ Arne Kavli's wife in the garden at Rønnes, c. 1933

Oil on canvas

120 x 140 cm. (47.2 x 55.1 in.)

Private collection

Arne Kavli (27 May 1878 – 23 September 1970) was a Norwegian painter. He was married three times; in 1903 with Tulla Larsen (1869-1942); in 1911 with Hildur Mønniche (b. 1883) and in 1925 with Thony Drude Isachsen b. 1897). 

Rønnes is a village in Grimstad municipality in Agder county, Norway. The village is located on the eastern shore of the Vikkilen bay, directly across the bay from the harbour of the town of Grimstad.

Per Deberitz

Portrait of Astri Welhaven

Oil on canvas

54x46cm

Private collection

Astri Welhaven Heiberg (December 14, 1881 – May 26, 1967) was a Norwegian painter, best known for her portraits of female nudes and landscapes. More on Astri Welhaven

In a period from 1906 to 1945, he placed three works with the National Art Exhibition (Høstutstillingen). Deberitz broke through at the 1914 Jubilee Exhibition at Frogner with, among others, his work Badende gutter (Bathing Boys, 1914) (See below). 

Per Deberitz (Norwegian, 1880–1945)

Bathing boys, c. 1914

Oil on canvas

81x72

Private collection

Per Deberitz (Norwegian, 1880–1945)

Ung, c. 1914

Oil on canvas

98 x 76 cm. (38.6 x 29.9 in.)

Private collection

Deberitz's drawing style is grandiose. His statuary sense of form is shown in images such as Akt from 1928 (See below) and the peculiar Negro Girl (1927).

Per Deberitz (Norwegian, 1880–1945)

Stående akt , c. 1928

Oil on canvas

100 x 74 cm. (39.4 x 29.1 in.)

Private collection

Per Deberitz (Norwegian, 1880–1945)

Akt, c. 1914

Oil on canvas

83 x 102 cm

The National Gallery, Oslo

Per Deberitz (Norwegian, 1880–1945)

Bathing boys, c. 1915

Oil on canvas

81x72

Private collection

Per Deberitz (Norwegian, 1880–1945)

Kvinneakt/ Female nude

Oil on canvas

61 x 50 cm. (24 x 19.7 in.)

Private collection

His works include significant landscapes and are situated in a French modernist, neo-impressionist tradition. Deberitz was primarily among the proponents of the new French-oriented painting. He painted standing and sitting female acts  and portraits (See above).

Deberitz painted landscapes, lush summer archipelago motifs from Skåtøy (See below), in a rich and rich color. He is represented in the National Gallery in Oslo with eight landscapes and a couple of acts.

Skåtøy is the biggest island in the skerries outside the town of Kragerø, Norway. The island is partially wooded. It has only a small year round population. Skåtøy and Kragerø are popular holiday destinations among Norwegians.

Per Deberitz (Norwegian, 1880–1945)

Fra Skåtøy/ From Skåtøy , c. 1930

Oil on canvas

59 x 84 cm. (23.2 x 33.1 in.)

Private collection

Per Deberitz (Norwegian, 1880–1945)

Sommerlandskap fra Skåtøy ved Kragerø/ Summer landscape from Skåtøy by Kragerø

Oil on panel

37 x 46 cm. (14.6 x 18.1 in.)

Private collection

Per Deberitz (Norwegian, 1880–1945)

Klar høstdag ved Skåtøy/ Clear autumn day at Skåtøy

Oil on canvas

85 x 100 cm. (33.5 x 39.4 in.)

Private collection

He was a member of Bildende Kunstneres Styre from 1916 to 1925, and also served on the advisory board and procurement committee for Norway's National Gallery. His works have been exhibited in individual and collective exhibitions in Sweden, Denmark, Germany, Finland, Austria, the USA and Belgium, as well as at larger art societies in Norway. During his lifetime, however, he mounted only two solo exhibitions, at Gallery Gauguin in Oslo (1929) and in Kunstnerforbundet (1931).

Deberitz died in Oslo. Some of his works are today in Norway's National Museum of Art, Architecture and Design as well as in the museums in Stavanger, Lillehammer, Drammen, Bergen, Finland's Ateneum and Sweden's Moderna Museet. He received the Order of the Polar Star in 1923. More on Per Aass Deberitz

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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17 Works, Today, March 26th. is artist Gustave Achille Guillaumet's day, his story, illustrated with footnotes #84

Style of Gustave Achille Guillaumet  (1840–1887)

Charge de cavaliers arabes/ Charge of Arab horsemen

Oil on canvas

40 x 102 cm 

Private collection

Gustave Achille Guillaumet (26 March 1840 – 14 March 1887), born in 1840 in Puteaux (now in the Hauts-de-Seine, Paris) was a French artist. He is best known for his paintings of North Africa.

Gustave Achille Guillaumet  (1840–1887)

Pause de la caravane dans le désert/ Caravan break in the desert

Oil on canvas

33,5x57 cm 

Private collection

Gustave Achille Guillaumet  (1840–1887)

Evening Prayer in the Sahara, c. 1863

Oil on canvas

1,3x2,8 m.

Orsay museum, Paris, France

Gustave Achille Guillaumet  (1840–1887)

Detail; Evening Prayer in the Sahara, c. 1863

Oil on canvas

Orsay museum, Paris, France

Gustave Achille Guillaumet  (1840–1887)

Guerriers arabes au repos/ Arab warriors at rest, circa 1886

Height: 37.5 cm (14.7 in); Width: 55 cm (21.6 in) Edit this at Wikidata

Brest’s Museum of Fine Arts, France

Guillaumet was initially a student of François-Edouard Picot and Félix-Joseph Barrias. In 1857 he joined the École nationale supérieure des Beaux-Arts in Paris where he became a student of Alexandre Abel de Pujol.

Gustave Achille Guillaumet  (1840–1887)

Tisseuses à Bou-Saäda, also known as Spinners at Bou-Saâda, between 1840 and 1887

Oil on canvas

H. 55.0; L. 75.7 cm. H. 86; L. 106.5 cm

Orsay Museum, Paris, France

Bou Saada, meaning "place of happiness") is a town and municipality in M'Sila Province, Algeria, situated 245 km south of Algiers. As Arena it was the site of a city and bishopric in Roman Africa, now a Catholic titular see. More on Bou Saada

Gustave Achille Guillaumet  (1840–1887)

Interior in Bou-Saâda, between 1840 and 1887

Oil on canvas

H. 74.7; L. 102.7 cm.

Orsay museum, Paris, France

Gustave Achille Guillaumet (French, 1840–1887)

Intérieur de Maison à Bou-Saada/ Interior of House in Bou-Saada

Oil on canvas

68.5 x 91 cm. (27 x 35.8 in.)

Private collection

Gustave Achille Guillaumet  (1840–1887)

Laghouat in the Algerian Sahara, c. 1879

Oil on canvas

Height: 123 cm (48.4 in); Width: 180 cm (70.8 in) Edit this at Wikidata

Musée d'Orsay 

Laghouat, town and oasis, north-central Algeria. It is located where the northern fringe of the Sahara meets the southern edge of the Saharan Atlas Mountains, on the route linking Algiers with central Africa. The oasis was probably settled in the 11th century after the Banū Hilāl invaders, supported by the Fāṭimids of Egypt, crossed the area. Laghouat subsequently passed through Moroccan and Turkish hands and was divided by two warring groups representing the Ouled Serrine and Hallaf peoples. The oasis, taken and united by the French in 1852, reverted to Algeria in 1962. It is one …(100 of 215 words). More on Laghouat

Gustave Achille Guillaumet  (1840–1887)

Flute players at the bivouac, c. 1866

Oil on canvas

H. 100.0; L. 160.0 cm.

Orsay museum, Paris, France

A bivouac shelter is an improvised camp site, or shelter that is usually of a temporary nature, used especially by soldiers, or persons engaged in backpacking. It may often refer to sleeping in the open with a bivouac sack, but it may also refer to a shelter constructed of natural materials like a structure of branches to form a frame, which is then covered with leaves, ferns, and similar material. More on bivouac

In 1861 Guillaumet entered the Historical Landscape category of the Prix de Rome for a scholarship to study at the Academy of France in Rome. On failing to win, he instead travelled across the Mediterranean to Algeria, in north Africa. While there he contracted malaria and had to spend three months at the military hospital in Biskra.

Gustave Achille Guillaumet  (1840–1887)

CAVALIERS À L'OUED/ HORSE RIDERS BY THE RIVER, c. 1869

Oil on canvas

44 x 65 cm; 17 1/3 by 25 1/2 in

Private collection

Gustave Achille Guillaumet  (1840–1887)

On the bank of the El Kantara river

Oil on canvas

22 x 31 in. (55.5 x 78 cm.) 

Private collection

Gustave Achille Guillaumet  (1840–1887)

Detail; On the bank of the El Kantara river

Oil on canvas

Private collection

Gustave Achille Guillaumet (French, 1840–1887)

LES FEMMES DU DOUAR À LA RIVIÈRE/ THE WOMEN OF THE DOUAR AT THE RIVER

Oil on canvas

81 x 116 cm. (31.9 x 45.7 in.)

Private collection

El Kantara river in mid-season, not quite a dry wadi, nor yet the torrent that carved such a ravine. The town was  one of the most important caravan-stations in E. Algeria, a place that owed its prominence and fame to “the grand gorge of the Oued el-Kantara, called by the natives Fumm es-Sahara (‘Mouth of the Desert’).

Gustave Achille Guillaumet  (1840–1887)

UNE NOCE ARABE À EL-KANTARA/ ARAB WEDDING IN EL-KANTARA

Oil on panel

27 X 34cm (10 5/8 X 13 3/8 IN.) 

Private collection

Guillaumet visited Algeria ten times between 1861 and 1867. He preferred to travel in the south and many of his works depict the life of the people of the desert.

Gustave Achille Guillaumet  (1840–1887)

Macbeth et les sorcières/ Macbeth and the witches

Oil on canvas

145 x 114 cm 

Private collection

Throughout the play, the witches—referred to as the “weird sisters” by many of the characters—lurk like dark thoughts and unconscious temptations to evil. In part, the mischief they cause stems from their supernatural powers, but mainly it is the result of their understanding of the weaknesses of their specific interlocutors—they play upon Macbeth’s ambition like puppeteers. More on Macbeth and the witches

Gustave Achille Guillaumet  (1840–1887)

Detail; Macbeth et les sorcières/ Macbeth and the witches

Oil on canvas

145 x 114 cm 

Private collection

Whereas Orientalism generally gave a deliberately idealised or anecdotal picture of north Africa, Guillaumet's work was notable for portraying the harshness of life in a desert region. The Sahara features the carcass of a camel in the foreground with a caravan - or mirage of one - on the horizon and empty desert in-between. It was first exhibited to considerable success at the Salon of 1868.

Gustave Guillaumet

The March of Silenus, 1861

Oil on canvas

H. 24.5; L. 32.0 cm.

Orsay Museum, Paris, France

The March of Silenus is a lively satire of mankind’s folly aimed at exposing social vulgarities. Beard depicts a mock procession in which Silenus, a companion of Dionysus, the Greek god of wine, appears as a rotund brown bear accompanied by a troupe of drunken, cavorting accomplices. Goats dance, play musical instruments, and carry grapes while bears can be seen hanging from and hiding behind trees and rolling down the trail in the distance. All are anxious to taste the “nectar of the Gods”—some of them are even poised with their mouths wide open in anticipation. More on The March of Silenus

Between 1879 and 1884 La Nouvelle Revue published tableaux of Algerian scenes collected together by Guillaumet. These were later published as a book, Tableaux Algériens. It includes twelve etchings by Guillaumet, Courtry, Paul Edmé Le Rat, Adolphe-Alphonse Géry-Bichard, August Müller and Toussaint; six photogravures by Dujardin and one hundred and twenty-eight engravings in relief from drawings and sketches by Guillaumet, himself. The book was published in 1888, after Guillaumet's death and is prefaced by a note on his life by Eugène Mouton.

Gustave Achille Guillaumet (French, 1840–1887)

Danse dans le harem/ Dance in the harem

Oil on canvas

73 x 53 cm. (28.7 x 20.9 in.)

Private collection

Gustave Achille Guillaumet (French, 1840–1887)

FEMME PENSIVE EN BLANC/ WOMAN DRESSED IN WHITE

Oil on canvas

25.5 x 19 cm. (10 x 7.5 in.)

Private collection

Gustave Achille Guillaumet (French, 1840–1887)

Jeune fille arabe/ Arab girl

Oil on canvas

48 x 39.5 cm. (18.9 x 15.6 in.)

Private collection

In 1878, Guillaumet was made a Knight of the Legion of Honour, the highest decoration in France. 

Guillaumet died in Paris in 1887. Speculation about the circumstances of his death, supposedly of peritonitis, was published in The New York Times on April 6. The article claimed that Guillaumet had left his wife and son to live with "a lady who was his senior by many years" but that a few weeks before his death he had shot himself following an argument with his mistress. More on Gustave Achille Guillaumet 

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

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12 Works, Today, March 25th. is artist Cherubino Cornienti's day, his story, illustrated with footnotes #83

Attributed to Cherubino Cornienti

Ritrovamento di Mosè/ Finding of Moses

Oil on canvas

176x233 cm 

Private collection

Cherubino Cornienti (March 25, 1816 – May 12, 1860) was an Italian painter, active in a Romantic style mainly in Northern Italy.

When he was early 12 years of age, he was admitted to the Brera Academy. In 1835, he participated in the annual exhibition at the Academy, and the next year, along with Domenico Induno, he won a prestigious award. He began a studio, alongside Induno, Giuseppe Mongeri, and Mauro Conconi.

Cherubino Cornienti

Archimedes burns the Roman ships of the Consul Marcellus with the fire from the mirrors

I have no further description, at this time

Hieronymos, the successor to Hieron II, rejected the treaty with Rome and instead allied with Carthage during the Second Punic War of 218–202 BC. time. Hieronymos was soon assassinated, but the Carthaginian party remained in power in the city. Syracuse was now led by Hippocrates and Epicydes, who both gained supreme power as warlords. Rome besieged Syracuse under the leadership of Consul Marcellus since 214 BC. The Romans fortified around the city and ruled the sea with their ships. It is said, however, that the Syracids, with the help of Archimedes , succeeded in setting the ships on fire with large mirrors as the Navy tried to attack the city itself. Second Punic War

Cornienti, Cherubino (1816-1860)

Gian Giacomo Trivulzio before Louis XII, ca. 1856 - ca. 1858

Oil on canvas

55 x 41.5

Civic Museums of Pavia

In 1499, Gian Giacomo Trivulzio commanded the troops of Charles's successor Louis XII of France when they set off to conquer Milan. Alessandria and Milan surrendered without a fight. However, in February 1500 Ludovico Moro returned to Milan with a mercenary army to the cheers of the population. The decisive military confrontation between the two armies took place at Novara in April of that year, when the French army led by Trivulzio was ready to attack Ludovico Moro's troops. However, as both armies consisted largely of Swiss mercenaries who did not wish to fight each other, Il Moro's Swiss soldiers moved back into the city. Trivulzio offered them free passage, except for their commander Ludovico Sforza, il Moro, who was hiding among them. He was discovered by the "Treason of Novara" and came into French captivity for the rest of his life. More on Ludovico Sforza

This painting linked to a previous work entitled "Gian Giacomo Trivulzio before Louis XII, king of France, rebuts the accusations of the Count of Lignì", now preserved at the Brera Academy in Milan (See below).

Cornienti, Cherubino (1816-1860)

Gian Giacomo Trivulzio before Louis XII, king of France, ca. 1856 - ca. 1858

 277 cm x 168 cm

Oil on canvas

Civic Museums of Pavia

This painting was created for the Great Painting Competition of 1843. Cornienti, not adhering perfectly to the description provided by the commission, rather than pursuing the environmental and antiquarian definition, seems to have wanted to recreate an emotional atmosphere, obtained through a 'passionate physiognomic investigation of the characters and with an extraordinary lighting, played on the effects of the backlight that recall the style of Brujllov. There is a subsequent smaller replica of the canvas, kept at the Civic Pinacoteca Malaspina in Pavia.

Cornienti, Cherubino (1816-1860)

The last farewell of Paolo Erizzo to his daughter at the moment in which he is taken to torture, c. 1842

Oil on canvas

49 x 37.5

 Civic Museums of Pavia

Cornienti, Cherubino (1816-1860)

Detail; The last farewell of Paolo Erizzo to his daughter at the moment in which he is taken to torture, c. 1842

Oil on canvas

49 x 37.5

 Civic Museums of Pavia

This a reparatory sketch of the canvas that he had presented in 1842 at the painting competition at the Venice academy and then re-proposed for the Braidense Exposition in Milan.

Paolo Erizzo fought at Siege of Negroponte between the Ottoman Empire and the garrison of the Venetian colony of Negroponte  in Central Greece. It lasted for almost a month, and ended in the capture of the city and the island of Euboea by the Ottomans.

Because the city had refused to surrender and was taken "by the sword", as was customary, the conquering Ottoman troops were given three days to plunder, loot, and pillage. T he garrison commander, bailo Paolo Erizzo, was sawn in half. More on this painting

Cornienti, Cherubino (1816-1860)

The refugees of Parga, ca. 1843

Oil on canvas

66.5 x 50.5

Civic Museums of Pavia

In 1815, with the fortunes of the French failing, the citizens of Parga revolted against French rule and sought the protection of the British. In 1819, the British sold the city to Ali Pasha of Ioannina (the subject of this painting), and it later passed to full Ottoman rule. This decision was highly unpopular among the population of Parga, a predominantly Greek inhabited and extremely pro-Venetian settlement. More on The refugees of Parga

In 1838 he painted the portrait of the patron Felice Borroni [it] of Solcio di Lesa. In 1839, he painted the Bishop of Lodi, Count Gaetano Benaglia [it]. In 1842, he painted the Paolo Erizzo bids Farewell to his Daughters (See above). In 1843, the Brera Academy awarded him a three-year stipend to paint in Rome. There he gravitated to the colony of Italian and foreign artists allied to the Accademia di San Luca, including Karl Bryullov. He attended courses in the French Academy in Villa Medici. In 1850, he was commissioned a fresco on Christ at Emmaus for the Convent of the Cappuccini of Tivoli. In 1853, his painting of Child Moses steps on the Crown of the Pharoah was sent for exhibition in Milan but the judges including Francesco Hayez, severely criticized the work.

Attributed to Cherubino Cornienti

Ritrovamento di Mosè/ Finding of Moses

Oil on canvas

176x233 cm 

Private collection

Finding of Moses. The book of Exodus (2:5) recounts how a Hebrew woman saved her infant son from Pharoah's massacre of Hebrew children by placing him in a basket on the Nile. Pharoah's daughter, while bathing on the banks of the river, found the child, adopted him, and named him Moses. More on Finding of Moses

Cornienti, Cherubino (1816-1860)

David and Bathsheba, c. 1849

Oil on canvas

32 x 27

Civic Museums of Pavia

David and Bathsheba. The story is told that David, while walking on the roof of his palace, saw Bathsheba, who was then the wife of Uriah, having a bath. He immediately desired her and later made her pregnant. In an effort to conceal his sin, and save Bathsheba from punishment for adultery, David summoned her husband, Uriah, and gave the order that Uriah should be placed in the front lines of the battle, where it was the most dangerous, and left to the hands of the enemy. After Uriah was dead, David made the now widowed Bathsheba his wife.

David's action was displeasing to the Lord, who accordingly sent Nathan the prophet to reprove the king. The king at once confessed his sin and expressed sincere repentance. Bathsheba's child by David was struck with a severe illness and died a few days after birth, which the king accepted as his punishment.

In David's old age, Bathsheba secured the succession to the throne of her son Solomon, according to David's earlier promise, instead of David's eldest surviving son Adonijah. More on David and Bathsheba

Cornienti, Cherubino (1816-1860)

Madonna with San Carlo, Sant 'Alessandro and San Paolo, c. 1848/12/18

Oil on canvas paper

41.7 x 61.5

Civic Museums of Pavia

This is  the sketch of the altarpiece that was commissioned in 1848 from Cornienti for the Milanese church of Sant'Alessandro. The work was completed by the painter in 1850. 

Attributed to Cherubino Cornienti

Mamma con bambino/ Slaughter of the innocence

Oil on cardboard

48x36 cm 

Private collection

The Massacre of the Innocents is the incident in the nativity narrative of the Gospel of Matthew in which Herod the Great, king of Judea, orders the execution of all male children two years old and under in the vicinity of Bethlehem. The Catholic Church regards them as the first Christian martyrs. A majority of Herod biographers, and "probably a majority of biblical scholars," hold the event to be myth, legend or folklore. The Massacre of the Innocents

He works in Garlate and Crema. In 1854, his work was interrupted by the demise of his model and companion Lalla, who had accompanied him from Rome to Milan. He visited Venice and Trieste. Back in Milan, he paints the portrait of Renato Borromeo. In 1856 two altarpieces for the church in Malgrate. In 1857, he proposed painting frescoes for the Duomo of Vigevano, but the commission is assigned to Francesco Gonin.

Cherubino Cornienti

Leonardo Showing To Ludovico il Moro The Locks Of Naviglio Canal

I have no further description, at this time

The sophisticated system of canals (“Navigli”) of Milano, were designed by Leonardo da Vinci. Ludovico il Moro asked him to find a way to connect the city with the Lake of Como. Leonardo, designed a system of locks to overcome the problem of the land’s unevenness making the navigation possible. The sketches of the project are now kept at he Navigli Museum. More on Navigli

Cherubino Cornienti

Lodovico il Moro in visita a Leonardo da Vinci

Oil on canvas

158 x 225 cm 

Private collection

Cherubino Cornienti

Ludovico il Moro visits Leonardo Da Vinci painting the Cenacolo, c. 1840

Oil on canvas

226,00 x 160,00 cm 

Private collection

Back in Rome, he continued to paint historical subjects, including events in the life of Leonardo, Michelangelo, Ludovico il Moro (See above), and Galeazzo Sforza. Finally in 1860, the Academy of Fine Arts of Bologna nominated him Professor of Painting with a stipend of 3500 Lire. But within a few months, Cherubino died in Milan at 44 years of age. He was buried alongside his friend Mauro Conconi, who died two days later. More on Cherubino Cornienti

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.