(1605 - January 1638) was a Flemish genre painter active in Flanders and the Dutch Republic in the seventeenth century. At a young age Brouwer, probably born as Adriaen de Brauwer in Oudenaarde, moved perhaps via Antwerp to Haarlem, where he became a student of Frans Hals alongside Adriaen van Ostade. He also was active in stage acting and poetry. He stayed in Haarlem and Amsterdam until 1631, when he moved back to Antwerp in the Spanish Netherlands. There, he became a member of the Guild of St. Luke in 1631-1632, as well as the rhetoricians's chamber De Violieren. Tradition has it that Brouwer himself spent much time in the alehouses of Flanders and Holland. His works are typically detailed and small, and often adopt themes of debauchery, drunkenness and foolishness in order to explore human emotions, expressions and responses to pain, fear and the senses. The Bitter Tonic is an example of the type of work that depicts such responses, in this case the sense of taste. His work was well liked, to the point that forgeries were sold in his own time. Both Rubens and Rembrandt owned a number of his works. Nevertheless, Brouwer appeared in financial trouble throughout his life. He died at the early age of 32 in Antwerp, where he was first buried in a common grave.  Related Paintings of Adriaen Brouwer :. | Two Peasants | Peasants Smoking and Drinking | Dune Landscape by Moonlight | Village Scene with Men drinking | Young Children Playing a Game |
Related Artists:
Frans Jansz van Mierisi
1635-1681 Dutch Frans Jansz van Mierisi Gallery
Artist Adolphe Joseph Thomas Monticelli
(October 14, 1824 - June 29, 1886) was a French painter of the generation preceding the Impressionists. Monticelli was born in Marseille in humble circumstances. He attended the École Municipale de Dessin in Marseille from 1842 to 1846, and continued his artistic training in Paris, where he studied under Paul Delaroche at the École des Beaux-Arts. In Paris he made copies after the Old Masters in the Louvre, and admired the oil sketches of Eugene Delacroix. In 1855 he met Narcisse Diaz, a member of the Barbizon school, and the two often painted together in the Fontainebleau Forest. Monticelli frequently adopted Diaz's practice of introducing nudes or elegantly costumed figures into his landscapes. He developed a highly individual Romantic style of painting, in which richly colored, dappled, textured and glazed surfaces produce a scintillating effect. He painted courtly subjects inspired by Antoine Watteau; he also painted still lives, portraits, and Orientalist subjects that owe much to the example of Delacroix. After 1870, Monticelli returned to Marseille, where he would live in poverty despite a prolific output, selling his paintings for small sums. An unworldly man, he dedicated himself singlemindedly to his art. The young Paul Cezanne had befriended Monticelli in the 1860s, and the influence of the older painter's work can be seen in Cezanne's work of that decade. Between 1878 and 1884 the two artists often painted landscapes together, once spending a month roaming the Aix countryside. Although Monticelli experimented briefly around 1870 with a treatment of light reflecting the discoveries of the Impressionists, he found the objectivity of this approach uncongenial. Confronted with criticism of his style of painting Monticelli himself remarked, "I paint for thirty years from now". The work of this instinctive painter reached its greatest spontaneity in the decade before his death in 1886.
Nasi
Italian, 19th century Born in the town of Castel del Piano, near Grossetto, Giuseppe Nicola Nasini trained under Ciro Ferri at the Accademia Medicea in Rome in the early 1680??s. He also studied at the Accademia di San Luca, where he won several prizes, and later worked extensively in Rome. In 1689 he entered the service of the Grand Duke Cosimo III de?? Medici in Florence, for whom he painted a series of four large canvases on the theme of the Last Judgement for the Salone dei Novissimi of the Palazzo Pitti, executed between 1690 and 1694. Transferred at the end of the 18th century to a church in Siena, these are now lost. In the first quarter of the 18th century Nasini painted a number of works for churches in Rome, including an altarpiece of The Madonna and Child with Saints for the Chiesa dei Re Magi in 1707, and a Baptism of Christ for San Lorenzo in Lucina, completed in 1716. In 1718 Nasini was one of twelve leading painters working in Rome (including Benedetto Luti, Francesco Trevisani, Sebastiano Conca and Pier Leone Ghezzi) who were commissioned by Pope Clement XI to paint seated prophets in the oval niches of the nave of the basilica of San Giovanni in Laterano. One of Nasini??s last Roman works was a frescoed Glory of Saint Anthony for the church of SS. Apostoli, painted between 1721 and 1722. By the late 1720??s Nasini had risen to a position as the leading painter in Siena, where he headed a large and busy workshop. In such works as the decoration of the Oratorio del Crocifisso and the church of the Visitation he introduced the Baroque manner of Luca Giordano to his native city. His older brother Antonio was also a painter; the two collaborated on the decoration of the vault of the church of San Gaetano di Thiene in Siena, completed in 1734.