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・ Miguel Moyano
・ Miguel Murillo
・ Miguel Murillo (Bolivian footballer)
・ Miguel Murillo (Colombian footballer)
・ Miguel Muñiz Fernández
・ Miguel Muñoz
・ Miguel Muñoz Trophy
・ Miguel Márquez Márquez
・ Miguel Méndez
・ Miguel Méndez (disambiguation)
・ Miguel Méndez (legal scholar)
・ Miguel Mínguez
・ Miguel Najdorf
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・ Miguel Navarro
Miguel Navarro Cañizares
・ Miguel Nazar Haro
・ Miguel Neto
・ Miguel Nicolelis
・ Miguel Nido
・ Miguel Noguer
・ Miguel Nunes
・ Miguel Nuño
・ Miguel Núñez
・ Miguel Núñez de Sanabria
・ Miguel Obando y Bravo
・ Miguel Odalis Báez
・ Miguel of Portugal (disambiguation)
・ Miguel Ojeda
・ Miguel Olavide Montes


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Miguel Navarro Cañizares : ウィキペディア英語版
Miguel Navarro Cañizares

Miguel Navarro Cañizares (c. 1835, Valencia - 23 October 1913, Río de Janeiro) was a Spanish painter and art teacher who worked in Venezuela and Brazil.
== Biography ==
He was the son of a basket maker and attended the Academy of Fine Arts. Later, he moved to Madrid, where he took classes at the San Fernando Academy and found a position in the workshop of Federico de Madrazo.〔(Brief biography ) @ Wikihistoria del Arte Venezolano.〕 In 1861, he entered a competition to fill a teaching vacancy at the "Escuela superior de Pintura, Escultura y Grabado", but was not successful.

For several years, he participated in the National Exhibition of Fine Arts, where his painting of Saint Catherine being transported by angels won a gold medal.〔 His canvas depicting Agustina de Aragón was distributed as a lithograph and used to illustrate a novel. In 1864, he won a grant to study in Rome for his version of the Raising of Jairus' daughter.

Later, in 1871, the Archbishop of Caracas, Silvestre Guevara y Lira, who was attending the First Vatican Council, saw some of Navarro's paintings and invited him to execute murals in the Caracas Cathedral; a project that would never be realized.
Navarro arrived in Venezuela in 1872, shortly after President Antonio Guzmán Blanco had consolidated his rule at the Battle of San Fernando de Apure. The editor of ''La Opinión Nacional'', a pro-government daily, suggested that the newly arrived (and politically neutral) Navarro would be the perfect choice to immortalize the event. The huge painting hung in the Senate chambers at the Palacio Federal Legislativo until 1889, when it disappeared; probably destroyed by opponents of the former President who vandalized statues and portraits of him throughout the country.〔

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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