Nordic scenery inspired by his travels. In February 1645,
Everdingen was married in the city of Haarlem, and at
some point afterward he joined the guild of Saint Luke
there. In 1652 he moved to Amsterdam, where he re-
mained until his death in 1675. From 1644 on, Scandi-
navian landscapes with rocks, waterfalls, and wooden
huts dominated his artistic production. Everdingen in-
troduced Nordic scenery to Dutch painting, and his
work in this vein inspired Jacob van Ruisdael's interest in
similar subjects.JEAN-HONORE FRAGONARD
Grasse iy32-Paris 1806
Fragonard moved with his family from Provence to Paris
in 1738. Following a brief apprenticeship with Char din
in 1747, he worked in Boucher's studio from 1748 to
- There he produced paintings in the master's style.
Awarded the Prix de Rome in 1752, Fragonard entered
the Ecole Roy ale des Eleves Proteges, directed by Carle
van Loo, in preparation for his five-year stay in Rome
(1756-1761). In Italy Fragonard studied at the French
academy, admired the works of Giambattista Tiepolo
and Francesco Solimena, and became friends with Hu-
bert Robert and his first patron, the Abbe de Saint-Non.
Fragonard created a variation of a compositional type
known as the fete galante, or park scene with figures on a
reduced scale, which was light-hearted and often erotic,
as in The Swing (London, Wallace Collection), the Fete
at Saint-Cloud (Paris, Banque de France), and his impor-
tant series Progress of Love, commissioned by Mme Du
Barry (1771-1773; New York, Frick Collection). His im-
provisatory brushwork and warm, vibrant colors ad-
mirably convey the delight and grace of these subjects.
In 1773 Fragonard traveled again to Rome, returning to
Paris the next year via Austria and Germany. In his later
years, scenes of family life became the favored subjects
of his paintings, as can be seen in Education Does All (Mu-
seo de Arte de Sao Paolo).
HENRY FUSELI (Johann Heinrich Fiissli)
Zurich 1741-London 1825
Fuseli's father, Johann Caspar, was a painter and writer
in Zurich. As a youth Fuseli read widely, absorbing the
works of Shakespeare, Milton, and Rousseau. He left
Switzerland in 1763 with the physiognomist Lavater and
later studied in Berlin with the mathematician and art
theorist Sulzer. In 1764 Fuseli traveled to London, and in
1768 he met Sir Joshua Reynolds, who encouraged him
to become a painter. Following this advice, Fuseli left for
a period of study in Italy, remaining there from 1770 to
1778. He developed an expressive, daringly simplifiedstyle and explored an innovative range of themes from
literature and classical and Northern mythology. Shortly
after returning to England, Fuseli produced his first ma-
jor success, The Nightmare of 1781 (Detroit Institute of
Arts). During the following years he executed paintings
for the Boydell Shakespeare Gallery and forty life-size
compositions for his own Milton Gallery. In 1790 he was
elected a full member of the Royal Academy; he became
a professor in 1801. Many of his academy lectures were
based on an 1802 visit to Paris, where he studied the art
in the Musee Napoleon.LATTANZIO GAMBARA
Brescia, circa 1530-157 4
Lattanzio Gambara was the son of a tailor. His active ca-
reer began in 1545, when Giulio Campi discovered him
and brought the younger artist to Cremona as his stu-
dent. In 1547 Gambara returned to Brescia to work under
Girolamo Romanino, with whom he collaborated on
numerous projects, including the fresco cycle depicting
the four seasons (1550; Palazzo Averoldi-Valotti). Gam-
bara became a versatile and skillful painter. His best
works are in fresco and include facade paintings, and his
most notable Brescian works are the altarpiece depicting
the Nativity and frescoes showing scenes from Ovid's
Metamorphoses in the Palazzo Avogadro. In 1567 Gam-
bara moved to Parma, where he painted the fresco cycle
in the Duomo depicting the Life of Christ (1567-1573).
He also completed the Ascension on the west wall of the
cathedral between 1571 and 1573. Gambara left for Bres-
cia in 1573 to begin frescoes for the church of San Lor-
enzo; these were incomplete at his death.BERNARDINO GATTI
Pavia circa 1495-Cremona 1575
Though born in Pavia, Gatti worked most of his life in
Cremona, Piacenza, and Parma. The art of Correggio
provided a source of inspiration for him throughout his
career, beginning with his first painted altarpiece, the
Resurrection (1529; Cremona, Duomo). In 1543 he was
working in Piacenza at Santa Maria in Campagna, where
he finished Pordenone s frescoes of the Life of the Virgin,
located in the dome. During the late 15405 Gatti under-
took several projects in Cremona, including the Ascen-
sion of Christ (1549) in the nave of San Sigismondo. In
1560 he moved to Parma, where he painted the Assump-
tion of the Virgin (1560-1572) for the dome of Santa Maria
della Steccata, a work reminiscent of Correggio's pro-
totype in nearby San Giovanni Evangelista. Returning to
Cremona in 1573, Gatti began an Assumption for the
Duomo that was incomplete at the time of his death.ARTISTS BIOGRAPHIES 339