was a Dutch Golden Age painter. Ary de Vois was the son of Alewijn de Vois from Utrecht, who was organist in the Pieterskerk, Leiden, in 1635. Ary became a pupil in Utrecht of Nikolaus Knepfer, who also taught Jan Steen. Ary then returned to Leiden to study with Abraham van den Tempel, who lived there between 1648 and 1660. De Vois joined the Leiden Guild of St Luke on 16 October 1653, paying dues until 1677. He was dean in 1662-64, headman in 1664-65 and dean again from 1667-68. He married Maria van der Vecht, on 5 February 1656. According to Houbraken his marriage caused a lull in his production, especially when he moved to Warmond where he took up fishing as a hobby. He had to move back to Leiden in order to keep his production levels high   Related Paintings of Ary de Vois :. | Beggar Boy | Reading (mk18) | Lady Wearing a Gauze Headdress | Still Life with Musical Insteruments (mk08) | Portrait of Pavel Tretyakov |
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James Baynes
James Baynes (5 April 1766 ?C 12 May 1837) was an English watercolour painter and drawing-master. Little is known of his family apart from the fact that he was born in Lancaster as the song of a local tradesman and was the eldest of six children, his grandfather being a Catholic priest in Kirkby Lonsdale where his father was born. As a boy he showed a love of the arts and had been employed to draw heads and work devices until Dr. Campbell, a local Physician, having seen some of these works sent some sketches to his friend George Romney. The young Baynes was then sent to London to study under Romney at the expense of Dr. Campbell. In 1784, at the age of 18 he became a student at the Royal Academy. He wedded Mary Mann (1766-1845) in 1785 at Marylebone Church, London. Their son, Thomas Mann Baynes (1794-1854), was also became a noted watercolour artist.
BARRA, Didier
French painter (b. 1590, Metz, d. 1644, Napoli French painter, active in Italy. He was for a long time confused with FRAN?OIS DE NOM?, and the work of both artists was thought to be by a Mons? Desiderio, a 'highly praised painter of perspectives and city scenes' (de Dominici). It is now generally accepted that Mons? Desiderio was the pseudonym of Didier Barra (1982 exh. cat.), son of Cl?ment Barra. Didier Barra left Metz probably c. 1608, when his name appeared for the last time in the city archives. From c. 1630 he was active in Naples, where he came into contact with landscape and townscape painters from northern Europe. De Dominici wrote that he was associated with Belisario Corenzio. The point of departure in reconstructing Barra's oeuvre is the Panoramic View of Naples (Naples, Mus. N. S Martino), which is signed and dated Desiderius Barra ex civitate Methensi in Lotharingia, F. 1647. The picture is a precise and panoramic view of Naples from the sea, from a single viewpoint, enriched by lively brushwork and with spirited scenes of shipping in the foreground. Its topographical precision suggests that Barra was influenced by the engravings of large views of Naples made by Alessandro Baratta ( fl 1629-30), and he may himself have trained as a cartographer. On the basis of this picture, several views of Naples have been attributed to Barra.
John Douglas Woodward
1846-1924