(1655 - 13 August 1726) was a Flemish painter. He was born in Antwerp and became a pupil of Erasmus Quellinus II and his son Jan-Erasmus Quellinus. He travelled to Rome and like his teachers had done before him, joined the Bentvueghels with the nickname "Parrhasius" in 1674. In Rome he lived with Charles de Vogelaer in the via Margutta and later he lived from 1688-89 in the Corso, near the via di Ripetta. In 1695 he became court painter in Vienna, where he later died. During the course of his lengthy career he also worked in Antwerp, Riems, Lyon, Amsterdam, the Hague, Brno, Dusseldorf, Copenhagen, and Berlin.He is known for portraits and historical allegories, and was the teacher of Georg Gsell.  Related Paintings of Anthoni Schoonjans :. | Portait of Count Sinzendorf | Man and Woman Sitting at the Virginal f | Die Musikstunde | The Relic of the Holy Cross is offered to the Scuola di S. Giovanni Evangelista | The Grand Canal with Santa Lucia and the Scalzi dfh |
Related Artists:
BICCI, Nero di
Italian Early Renaissance Painter, 1419-1491
Emile Friant
French Realist Painter, 1863-1932, Was a French painter. With a naturalist style Emile Friant painted quotidian scenes involving people. His creations are characterized by the photographic realism of the human skin portions, and a less defined portrayal of the rest of the scene.
BECCAFUMI, Domenico
Italian Mannerist Painter, ca.1486-1551 Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist.[1] In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school. There are medieval eccentricities, sometimes phantasmagoric, superfluous emotional detail and a misty non-linear, often jagged quality to his drawings, with primal tonality to his coloration that separates him from the classic Roman masters.