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Herbert James Draper
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(1863 - 22 September 1920) was an English Classicist painter whose career began in the Victorian era and extended through the first two decades of the 20th century.
Born in London, the son of a jeweller named Henry Draper and his wife Emma,he was educated at Bruce Castle school in Tottenham and then went on to study art at the Royal Academy. He undertook several educational trips to Rome and Paris between 1888 and 1892, having won the Royal Academy Gold Medal and Travelling Studentship in 1889. In the 1890s he worked also as an illustrator, settling in London. In 1891 he married his wife Ida , with whom he had a daughter, Yvonne.He died of arteriosclerosis at his home at 15, Abbey Road, N.W.8 on 22 September 1920 |
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hertervig
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Lars Hertervig (February 16, 1830 - January 6, 1902) was a Norwegian painter. His semi-fantastical work with motives from the coastal landscape in the traditional district of Ryfylke is regarded as one of the peaks of Norwegian painting.
Lars Hertervig was born in 1830 at Hattarvagen, in the municipality Tysvar in Norway, from which the family name derives, on the west coast of Norway, north of Stavanger. His family were poor, Quaker farmers. Hertervig studied painting at the Arts Academy of Dusseldorf from 1852, as the private pupil of Hans Gude, until he experienced a temporary mental breakdown two years later, and moved back to the Stavanger area. In October 1856, Hertervig entered Gaustad asylum. |
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Hippolyte Leon Benett
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Muḥammad ibn Baṭeṭah (Arabic: أبو عبد الله محمد ابن بطوطة), or simply Ibn Battuta, also known as Shams ad CD in (February 25, 1304-1368 or 1369), was a Muslim Moroccan explorer, known for his extensive travels published in the Rihla (literally, "The Journey"). Over a period of thirty years, he visited most of the known Islamic world, including North Africa, the Horn of Africa, West Africa, Southern Europe and Eastern Europe in the West, to the Middle East, South Asia, Central Asia, Southeast Asia and China in the East, a distance surpassing his near-contemporary Marco Polo. Ibn Battuta is considered one of the greatest travellers of all time. He journeyed more than 75,000 miles (121,000 km), a figure unsurpassed by any individual explorer until the coming of the Steam Age some 450 years later.
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Hugo Loffler
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1859-1935
painted Preparing for the lesson in 1896 |
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Isaac van Ostade
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(bapt. June 2, 1621, Haarlem - buried October 16, 1649, Haarlem) was a Dutch genre and landscape painter.
Van Ostade began his studies under his brother, Adriaen, with whom he remained till 1641, when he started his own practice. At an early period he felt the influence of Rembrandt, and this is apparent in a Slaughtered Pig of 1639, in the gallery of Augsburg. He soon found a style more suited to his own inclinations. He produced pictures in 1641-1642 on the lines of his brother - amongst these, the Five Senses, which Adrian afterwards represented by a Man reading a Paper, a Peasant tasting Beer, a Rustic smearing his Sores with Ointment and a Countryman sniffing at a Snuff-box. A specimen of Isaac's work at this period may be seen in the Laughing Boor with a Pot of Beer, in the museum of Amsterdam; the cottage interior, with two peasants and three children near a fire, in the Berlin museum; a Concert, with people listening to singers accompanied by a piper and flute player, and a Boor stealing a Kiss from a Woman, in the Lacaze collection at the Louvre.
The interior at Berlin is lighted from a casement in the same Rembrandtesque style as Adrian's interior of 1643 at the Louvre. He received low prices for this kind of painting, in which he could only remain subordinate to his brother. Gradually he abandoned Adrian's cottage subjects for landscapes in the fashion of Esaias van de Velde and Salomon van Ruysdael. Once only, in 1645, he reverted to the earlier mode, when he produced the Slaughtered Pig, with a boy puffing out a bladder, in the museum of Lille.
Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; and, although he now selected his subjects either from village high streets or frozen canals, he gave fresh life to the scenes by depicting animated groups of people with a refined and searching study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on 16 October 1649 having painted about 400 pictures (see H de Groot, 1910).
The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, Antwerp and Lille. Three of these examples bear the artists name, spelled Isack van Ostade, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compact series from 1646 to 1649. This is the last form of Isaac's art and has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such asglazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to them.
These quirks are overcome by his broad contrasts of light and shade and the masterly figures of horses, riders, travellers, rustics, quarrelling children, dogs, poultry and cattle. A favorite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the skirmishes and fairs of Philip Wouwerman.
Isaac displays the best qualities in winter scenes. The absence of foliage, the crisp atmosphere and the calm air of cold January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes with a great variety of opal tints. Then the figures emerge with masterly effect on the light background. Amongst the roadside inns it is worth noting those in the collections of Buckingham Palace, the National Gallery, London, the Wallace Collection and Holford collections in England, the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna. The finest of the ice scenes is the famous one at the Louvre.
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Isaak Soreau
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painted Basket with fruit and plum leaves in c. 1640
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Isidre Nonell
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(November 30, 1873, Barcelona, Spain - February 21, 1911, Barcelona) a Catalonian painter and drawer belonging to post-impressionism known for his expressive portrayal of the socially marginalized of Barcelona society. (He is also said to belong to modernism and postmodernism.)
Isidre Nonell was born in 1872 (not in 1873 as indicated by some biographers). His parents, Isidre Nonell i Torras de Arenys de Mar and Àngela Monturiol i Franc of Barcelona, owned a small but prosperous factory of soup noodles. Together with his childhood friend, Joaquim Mir, with whom he attended the same school in the neighborhood of Sant Pere in the old part of town in Barcelona, he developed artistic ambitions at an early age.
His early teachers included Josep Mirabent, Gabriel Martenez Alt and Llu Graner. From 1893 to 1895 he studied at the Escola de Belles Arts de Barcelona (Fine Arts School of Barcelona). He met Ricard Canals, Ramen Pichot, Juli Vallmitjana, Adrie Gual, and Joaquin Sunyer with whom he developed an interest in landscape painting, studying light. The study of sunlight and its effects on color were a main part of Impressionism, which was then active. They were called the "Saffron Group" for the warm tones they used, as well as the "Sant Marte Group" after the town they painted in.
In 1894, he began producing illustrations for La Vanguardia. He later drew for other periodicals, including LeEsquella de la Torratxa, Barcelona Cemica, Pel & Ploma, and Forma.
In 1896, Nonell went with Ricard Canals and Juli Vallmitjana to the spa town of Caldes de Boe in the Catalonian Pyrenees to work at the spa run by Vallmitjana's family. There, he saw a large number of people suffering from the illness of cretinism, which became a subject of his paintings.
In February 1897, he went to Paris with Ricard Canals. There he exhibited and shared a studio with Picasso. He returned to Barcelona in 1900. At the beginning of 1901, he made paintings of women, such as gypsy and working-class women, and still lifes. He exhibited in the Sala Par in Barcelona twice, in 1902 and 1903. The reaction to his works of poor gypsy women was very hostile.
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Ismael Nery
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Ismael Nery (October 9, 1900 - April 6, 1934) was a Brazilian artist.
Born in Belem, Pare of Dutch, Native-Brazilian and African ancestry,[1] he studied at the Escola Nacional de Belas Artes (National School of Fine Arts) in Rio de Janeiro and at the Academie Julian in Paris. He created numerous paintings, wrote many poems and also helped design Brazil's National Patrimony of the Treasury department. Nery married a poet, Adalgisa Nery, in 1922. He contracted tuberculosis in 1931, and died of it in 1934. |
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Ivan Vishnyakov
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1699-1761
Russian Ivan Vishnyakov Gallery
Russian painter. He trained at the Admiralty College under Vasily Gruzinets (1667-1739) and in 1727 joined the staff of the Office of Buildings with the rank of apprentice, working for a time under Louis Caravaque (1684-1754). In 1739 he became a Master and head of the Office department of paintings. He contributed to the monumental and decorative works, which he also supervised, in the palaces and churches of St Petersburg and environs, Moscow and Kiev, and in the decoration of triumphal arches in Moscow and St Petersburg. |
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Ivan Aivazovsky
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July 29, 1817 C May 5, 1900) was a Russian painter of Armenian descent, most famous for his seascapes, which constitute more than half of his paintings.Aivazovsky was born in the town of Feodosiya, Crimea, to a poor Armenian family. His parents family name was Aivazian. Some of artist's paintings bear a signature, in Armenian letters, "Hovhannes Aivazian" (Յովհաննէս Այվազեան). His talent as an artist earned him sponsorship and entry to the Simferopol gymnasium ??1 and later the St.Petersburg Academy of Arts, from which he graduated with the gold medal. Earning awards for his early landscapes and seascapes, he went on to paint a series of portraits of Crimean coastal towns before traveling throughout Europe. In later life, his paintings of naval scenes earned him a longstanding commission from the Russian Navy.
In 1845, Aivazovsky went to Istanbul upon the invitation of Sultan Abdelmecid, a city he was to travel to eight times between 1845-1890. |
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Ivan Bilibin
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(Russian, 16 August [O.S. 4 August] 1876 - 7 February 1942) was a 20th-century illustrator and stage designer who took part in the Mir iskusstva and contributed to the Ballets Russes. Throughout his career, he was inspired by Slavic folklore.
Ivan Bilibin was born in a suburb of St. Petersburg. He studied in 1898 at Anton Ažbe Art School in Munich, then under Ilya Repin in St. Peterburg. In 1902-1904 Bilibin travelled in the Russian North, where he became fascinated with old wooden architecture and Russian folklore. He published his findings in the monograph Folk Arts of the Russian North in 1904. Another influence on his art was traditional Japanese prints.
Bilibin gained renown in 1899, when he released his illustrations of Russian fairy tales. During the Russian Revolution of 1905, he drew revolutionary cartoons. He was the designer for the 1909 premiere production of Nikolai Rimsky-Korsakov's The Golden Cockerel. The October Revolution, however, proved alien to him. After brief stints in Cairo and Alexandria, he settled in Paris in 1925. There he took to decorating private mansions and Orthodox churches. He still longed for his homeland and, after decorating the Soviet Embassy in 1936, he returned to Soviet Russia. He delivered lectures in the Soviet Academy of Arts until 1941. Bilibin died during the Siege of Leningrad.
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Ivan Grohar
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Ivan Grohar (15 June 1867 - 19 April 1911) was a Slovene Impressionist painter. Together with Rihard Jakopič, Matej Sternen and Matija Jama, he is considered one of the leading figures of Slovene impressionism in the fin de siecle period.
Grohar was born in the Upper Carniolan village of Spodnja Sorica, then part of the Austro-Hungarian Empire. From an early age, he showed an interest in art but he could not develop his talent because he was an orphan and lived in poverty. In 1888, the local vicar Anton Jamnik sent him to an exhibition in the nearby town of Škofja Loka, enabling him to spend the summer working in the town of Kranj under the supervision of the church painter Matija Bradaška. He also travelled to Zagreb, where he worked in the atelier of Spiridion Milanesi, until he was conscripted into the Austro-Hungarian Army. He disliked the military life, so he deserted and fled to Venice, in Italy. Left with nothing, he appealed to the Austro-Hungarian consulate. In 1889 a court sentenced him to a short stay in prison and extended his military service by one year.
Ivan Grohar: Brna from 1899In 1892, he applied to the Carniolan Provincial Diet for financial assistance to study at the Graz school of painting, which he received. Two years later, he applied for assistance to study at the Academy of Fine Arts in Vienna. This assistance was also approved, but despite his excellent exam result, he was not accepted to the Academy because he had not finished his studies in Graz. He continued his schooling in Graz and finished it at the end of 1894. In August 1896, he opened his own atelier in Škofja Loka. He also worked in Munich, where he attended Anton Ažbe school of art. Back home, he befriended the impressionist painter Rihard Jakopič. In autumn of 1900, he took part in the first Slovene Artistse Exhibition, organised by the Slovene Artistic Association (Slovensko umetniško društvo, SUD). He was elected to the position of treasurer of the SUD, but illegally borrowed money from the association, for which he was sentenced to three monthse imprisonment. On his release, he left for Vienna. |
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Ivan Kramskoi
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(June 8 (O.S. May 27), 1837 C April 6 (O.S. March 24), 1887) |
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Ivan Nikolaevich Kramskoi
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(June 8 (O.S. May 27), 1837 ?C April 6 (O.S. March 24), 1887; was a Russian painter and art critic. He was an intellectual leader of the Russian democratic art movement in 1860-1880.
Kramskoi came from a poor petty-bourgeois family. From 1857 to 1863 he studied at the St. Petersburg Academy of Arts; he reacted against academic art and was an initiator of the "revolt of fourteen" which ended with the expulsion from the Academy of a group of its graduates, who organized the Artel of Artists
Influenced by the ideas of the Russian revolutionary democrats, Kramskoi asserted the high public duty of the artist, principles of realism, and the moral substance and nationality of art. He became one of the main founders and ideologists of the Company of Itinerant Art Exhibitions (or Peredvizhniki). In 1863-1868 he taught at the drawing school of a society for the promotion of applied arts. He created a gallery of portraits of important Russian writers, scientists, artists and public figures (Lev Nikolaevich Tolstoy, 1873, Ivan Shishkin, 1873, Pavel Mikhailovich Tretyakov, 1876, Mikhail Saltykov-Shchedrin, 1879, Sergei Botkin, 1880) in which expressive simplicity of composition and clarity of depiction emphasize profound psychological elements of character. Kramskoi's democratic ideals found their brightest expression in his portraits of peasants, which portrayed a wealth of character-details in representatives of the common people.
In one of Kramskoi's most well known paintings, Christ in the Desert (1872, Tretyakov gallery), he continued Alexander Ivanov's humanistic tradition by treating a religious subject in moral Cphilosophical terms. He imbued his image of Christ with dramatic experiences in a deeply psychological and vital interpretation, evoking the idea of his heroic self-sacrifice.
Aspiring to expand the ideological expressiveness of his images, Kramskoi created art that existed on the cusp of portraiture and genre-painting ("Nekrasov during the period of 'Last songs,'" 1877-C78; "Unknown Woman," 1883; "Inconsolable grief," 1884; all in Tretyakov gallery). These paintings disclose their subjects' complex and sincere emotions, their personalities and fates. The democratic orientation of Kramskoi's art, his acute critical judgments about it, and his persistent quest for objective public criteria for the evaluation of art exerted an essential influence on the development of democratic art and aesthetics in Russia in the last third of the nineteenth century.
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Ivan Vishnyakov
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(1699 - 1761) was a Russian painter.
Vishnyakov was born in Moscow. He was a pupil of Louis Caravaque, a French artist, who worked in Russia. Vishnyakov worked in the painting department of the Ministry of Construction, and painted primarily portraits at that time. In 1739 he was promoted to the head of the department, and led the decoration of many palaces and churches in Moscow, Kiev, and Saint Petersburg. He died in Saint Petersburg in 1761.
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Jacob Levecq
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(1634 - 1675), was a Dutch Golden Age painter trained by Rembrandt.
According to Houbraken, who was his pupil during the last 9 months of his life, he had been trained by Rembrandt, but inherited a sum of money when his parents died, that he used to take care of himself, his two unmarried sisters and a blind half-brother. Houbraken could not recall much of his painting style, since he had been mostly sick while he was living in the house, and he no longer painted actively. In his younger years Levecq travelled to Paris and Sedan where he painted portraits, and on his return to Dordrecht became a portrait painter in the manner of Jan de Baen. When he died, Houbraken inherited a third of his prints, but regretted the fact that as a young boy with little experience in such matters, he only chose prints by Lucas van Leyden and Albert Durer, and had left the French prints for others, and so was very glad that he had received one anyway by Charles le Brun. |
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Jacob van Loo
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(1614 - 26 November 1670) was a Flemish painter who is considered one of the Dutch Masters of the 17th Century. Van Loo is known for his conversational groupings, his use of a subtle color palette and his nudes. He was the founder of the Van Loo family of painters.
Van Loo was born in Sluis, Zeeland, in the Dutch Republic. Some sources have spe,culated that his father, Jan van Loo, may have been a notary, but more often his father is described as a painter from whom Jacob van Loo received his early training. Little is known of Van Loo's early history due to the destruction of the city archives in Sluis during World War II.
His early influences included Thomas de Keyser and Jacob Adriaensz Backer. In 1642, van Loo moved to Amsterdam, where his contemporaries included Rembrandt, Frans Hals, and Bartholomeus van der Helst. In 1643 he married the sister of the painter, Martinus Lengele. The couple had six children. They lived on Rozengracht in the Jordaan district of Amsterdam. Eglon van der Neer became one of his pupils. In 1660, Van Loo fled the city after fatally stabbing someone during an altercation at an inn. He was sentenced to death in absentia which forever prevented his return to Holland. Van Loo settled in Paris, where he was admitted to the Academie de peinture et de sculpture. He died in Paris in 1670.
Van Loo's work was done in the Baroque style that had originated in Rome. The Baroque style was popular throughout Europe during this period. Van Loo was a major influence on Johannes Vermeer as can be seen in Vermeer's painting, Diana and Her Companions.
Van Loo painted many portraits. Among his subjects were Johan Huydecoper van Maarssenveen; his sister, Leonara Huydecoper, who was married to Jan J. Hinlopen; Joan Ortt, who was later involved with Antoinette Bourignon; and his wife.
Jacob van Loo's son, Louis Abraham van Loo, was also a painter, as were his grandsons, Jean-Baptiste van Loo and Charles-Andra van Loo.
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Jacopo Ligozzi
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(1547 - 1627) was an Italian painter, illustrator, designer, and miniaturist of the late Renaissance and early Mannerist styles.
Born in Verona, he was the son of the artist Giovanni Ermano Ligozzi, and part of a large family of painters and artisans. After a time in the Habsburg court in Vienna where he displayed drawings of animal and botanical specimens, he was invited to come to Florence, receiving the patronage of the Medici as one of the court artists. Upon the death of Giorgio Vasari in 1574, he became head of the Accademia e Compagnia delle Arti del Disegno, the officially patronized guild of artists, which was often called to advise on diverse projects. He served Francesco I, Ferdinando I, Cosimo II and Ferdinando II, Grand Dukes of Tuscany. He worked on some projects with Bernardino Poccetti. Late in life, he was named director of the grand-ducal Galleria dei Lavori, a workshop providing designs for artworks made mainly for export: embroidered textiles and for the newly popular medium of pietre dure, mosaics of semiprecious stones and colored marbles.
Jacopo Ligozzi was born at Verona c. 1543, He died after 1632. He painted some frescoes for the cloister of the Ognissanti. He painted for Santa Maria Novella a canvas of St. Raymond resuscitating a Child and a Martyrdom of St. Dorothea for the church of the Conventuali at Pescia. Both Agostino Carracci and Andrea Andreani engraved some of his works
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Jacques Le Moyne de Morgues
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French painter, illustrator and explorer.
c.1533 -1588
French painter, illustrator and explorer, also active in Florida and London. In April 1564 he sailed with Ren? de Laudonni?re as artist of the Huguenot expedition to Florida. In September 1565 the Spaniards overran the colony, but he escaped and returned to France. By c. 1580 he had settled in Blackfriars, London, 'for religion' and received letters of denization on 12 May 1581. He later came into contact with Sir Walter Ralegh and his colonizing circle and with John White, the artist of the first English colony of Virginia, with whom he exchanged ideas and perhaps collaborated. Ralegh commissioned him to illustrate the Florida enterprise, and Le Moyne produced an account Brevis narratio eorum quae in Florida |
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Jacques Linard
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(1597-1645) was a French painter of the first half of the 17th century. He painted still-lives. He was baptised on the 6th of September, 1597. His first records of being of artist was in the 1620's. He was married in 1626 to the daughter of a Parisian Master Painter. In 1631 he is quoted as a painter |
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Jacques-Laurent Agasse
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1767-1849
Swiss
Jacques-Laurent Agasse Galleries
(b Geneva, 24 March 1767; d London, 27 Dec 1849). English painter of Swiss birth. Born into a wealthy and politically influential Huguenot family, Agasse spent his early childhood at the country estate of Cravin, where he may have developed the interest in animals and natural history that was to guide his later career as an artist in England. Agasse trained first at the Ecole du Colibri in Geneva and subsequently in Paris under Jacques-Louis David (beginning in 1787) and possibly under Horace Vernet. His early artistic output consisted chiefly of unpretentious silhouette cut-outs in the style of Jean-Daniel Huber. At this time he also undertook a serious study of dissection and veterinary science. |
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Jacques-Louis David
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French
b.Aug. 30, 1748, Paris
d.Dec. 29, 1825, Brussels
Jacques-Louis David is famous for his huge, dramatic canvasses of Napoleon and other historical figures, including Oath of the Horatii (1784), Death of Marat (1793) and The Sabine Women (1799). Early in his career he was a leader in the neoclassical movement; later his subjects became more modern and political. David was himself active in the French Revolution as a supporter of Robespierre and is sometimes called the chief propagandist for the Revolution; after the Reign of Terror ended he was briefly imprisoned for his actions. When Napoleon took power David became his court painter and created several grand canvasses of the Emperor, including the heroic Napoleon Bonaparte Crossing the Alps (1801) and the enormous Coronation of Napoleon and Josephine (1807). David also painted Napoleon in His Study (1812), with its famous image of Napoleon with one hand tucked inside his vest. After Napoleon ouster David went in exile to Brussels, where he remained until his 1825 death |
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Jacques-Louis David
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Jacques-Louis David, France Neoclassicism painter, b.1748 - d.1835. Jacques-Louis David is famous for his huge, dramatic canvasses of Napoleon and other historical figures, including Oath of the Horatii (1784), Death of Marat (1793) and The Sabine Women (1799). Early in his career he was a leader in the neoclassical movement; later his subjects became more modern and political. David was himself active in the French Revolution as a supporter of Robespierre and is sometimes called the chief propagandist for the Revolution; after the Reign of Terror ended he was briefly imprisoned for his actions. When Napoleon took power David became his court painter and created several grand canvasses of the Emperor, including the heroic Napoleon Bonaparte Crossing the Alps (1801) and the enormous Coronation of Napoleon and Josephine (1807). |
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James Latham
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James Latham (c. 1696 - 26 January 1747) was an Irish portrait painter.
James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724 - 25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747.
Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694-1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop Robert Clayton (1697-1758) and his wife Katherine. |
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James Walter Robert Linton
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water-colourist ,English. 1869-1947
Australian silversmith, jeweller, woodworker and painter of English birth. His father was the watercolourist Sir James Dromgole Linton (1840-1916). Having trained as a painter and architect in London, he travelled to Western Australia in 1896 and began practising metalwork after settling in Perth; he was appointed head of the art department of Perth Technical School in 1902. Following a trip to London in 1907, when he attended classes at the Sir John Cass Technical Institute under Harold Stabler, he concentrated on producing metalwork. Working in partnership with Arthur Cross, William Andrews and his own son Jamie Linton (1904-80), he produced ecclesiastical and domestic wares, presentation pieces and jewellery. His designs were influenced by British Arts and Crafts metalwork and were bold and simple, with decoration generally confined to hammered surfaces, twisted wire, hardstones and enamels. |
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Jan lievens
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Dutch Baroque Era Painter, 1607-1674
Dutch painter, draughtsman and printmaker. His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens's early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favoured by his noble patrons, thus never fully realizing his early promise. |
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Jean Baptiste van Loo
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Flemish Painter, 1684-1745
was a French subject and portrait painter. He was born in Aix-en-Provence, and was instructed in art by his father Louis-Abraham van Loo, son of Jacob van Loo. Having at an early age executed several pictures for the decoration of the church and public buildings at Aix, he was employed on similar work at Toulon, which he was obliged to leave during the siege of 1707. He was patronized by the prince of Carignan, who sent him to Rome, where he studied under Benedetto Luti. Here he was much employed on church pictures, and in particular executed a greatly praised Scourging of Christ for St Maria in Monticelli. At Turin he painted Charles Emmanuel II, Duke of Savoy and several members of his court. Then, moving to Paris, where he was elected a member of the Acad??mie Royale de Peinture et de Sculpture, he executed various altar-pieces and restored the works of Francesco Primaticcio at Fontainebleau. In 1737 he went to England, where he attracted attention by his portrait of Colley Cibber and of Owen McSwiny, the theatrical manager; the latter, like many other of van Loo's works, was engraved in mezzotint by John Faber Junior. He also painted Sir Robert Walpole, whose portrait by van Loo in his robes as chancellor of the exchequer is in the National Portrait Gallery, London, and the prince and princess of Wales. He did not, however, practise long in England, for his health failing he retired to Paris in 1742, and afterwards to Aix, where he died on 19 December 1745. |
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Jean Lecomte Du Nouy
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French Painter and Sculptor, 1842-1923,was an orientalist French painter and sculptor. He was Charles Gleyre's and Jean-Leon G??rome's pupil. A Paris street was named after him in 1932. |
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Jean Leon Gerome
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French
1824-1904
Jean Leon Gerome Galleries
French painter, sculptor, and teacher. Son of a goldsmith, he studied in Paris and painted melodramatic and often erotic historical and mythological compositions, excelling as a draftsman in the linear style of Jean-Auguste-Dominique Ingres. His best-known works are scenes inspired by several visits to Egypt. In his later years he produced mostly sculpture. He exerted much influence as a teacher at the Ecole des Beaux-Arts; his pupils included Odilon Redon and Thomas Eakins. A staunch defender of the academic tradition, he tried in 1893 to block the government acceptance of the Impressionist works bequeathed by Gustave Caillebotte.
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