Italian Rococo Era Painter, C.1721-1780 Italian painter and draughtsman. He was a view painter who worked in Italy and later at the courts of Dresden, Vienna, Munich and Warsaw. The nephew and almost certainly the pupil of Canaletto, outside Italy he signed his works de Canaletto and hence became known as Canaletto. He painted both topographical and imaginary views in a style independent of his uncle's, distinguished by cold colour and by the austere geometry of architectural masses.   Related Paintings of Bernardo Bellotto :. | Das kaiserliche Lustschlob Schlobhof, Gartenseite | Signoria Square in Florence. | Pulkownik Piotr Konigsfels udziela lekcji jazdy konnej ksieciu Jozefowi Poniatowskiemu. | Wilanow Palace seen from the entrance. | Election of Stanislaw August Poniatowski |
Related Artists:
William Scrots
William (or Guillim) Scrots (or Scrotes or Stretes) (active 1537-1553) was a painter of the Tudor court and an exponent of the Mannerist style of painting in the Netherlands. He is first heard of when appointed a court painter to Mary of Habsburg, Regent of the Netherlands, in 1537. In England, he followed Hans Holbein as King's Painter to Henry VIII in 1546, with a substantial annual salary of £62 10s, over twice as much as Holbein's thirty pounds a year. He continued in this role during the reign of the boy king Edward VI. His salary was stopped on Edward's death in 1553, after which it is not known what became of him, though it is presumed he left England. Edward VI, attributed to Scrots, Hampton Court. Portrait of Edward VI in distorted perspective, 1546.Little more is known of Scrots than that his paintings showed an interest in ingenious techniques and detailed accessories. Scrots was paid 50 marks in 1551 for three "great tables", two of which were portraits of Edward delivered to the ambassadors Thomas Hoby and John Mason as gifts for foreign monarchs, and the third a "picture of the late earle of Surrey attainted." Two full-length portraits of Edward VI in a pose similar to that of Holbein's portrait of his father, one now in the Royal Collection (left) and another now in the Louvre (below), are attributed to Scrots and are likely to be these two paintings. Scrots also painted an anamorphic profile of Edward VI, distorted so that it is impossible to view it normally except from a special angle to the side. This optical trick is similar to that used by Holbein in his painting The Ambassadors and in contemporary portraits of Francis I and Ferdinand I. Later, when the painting was exhibited at Whitehall Palace in the winter of 1591-92, it created a sensation, and important visitors were all taken to see it.
Laszlo Paal
Laszlo Paal (1846-1879) was a Hungarian Realist landscape painter. He was a pupil of Mihaly Munkacsy. His pictures are representative of lyrical realism: his oeuvre is related to the tendencies of the Barbizon School.
John Wootton
1682 - 1764 English painter. He probably received some instruction from Jan Wyck in the 1690s, and he was possibly patronized from an early age by the aristocratic households of Beaufort and Coventry (as was Wyck), perhaps while working as a page to Lady Anne Somerset at Snitterfield House, Warwicks. However, there seems to be no real evidence for this save his early painted view of the house and the family's later acquisition of many of his works. Joseph Farington saw a painting of Diana and the Nymphs (1707; untraced) at Antony House, Cornwall, but Wootton's earliest extant dated work is the horse portrait Bonny Black (1711; Belvoir Castle, Leics). By this time he had begun to establish himself in London, having moved there before his first marriage, to Elizabeth Walsh, in 1706.