the period of 1465-153 Persian illustrator. The most famous master of Persian painting, he is important both for the paintings he executed and for the wider influence of the style associated with his name. Evidently orphaned at a young age, Bihzad is said to have been raised and trained by MIRAK, a painter and calligrapher employed in Herat by Husayn Bayqara.  Related Paintings of Bihzad :. | Details from Caliph al Ma mun in his bath | Fragment of a Manichaean manuscript,with the Hindu gods Ganesh,Vishnu | A Poor dervish deserves,through his wisdom,to replace the arrogant cadi in the mosque | The Gatekeeper denies entrance by one unworthy of the garden | King Darius and the Herdsman |
Related Artists:
Hippolyte Flandrin
1809-1864 Hippolyte Flandrin Location Painter and lithographer, brother of Auguste Flandrin. He was initially discouraged from fulfilling his early wish to become an artist by Auguste lack of success, but in 1821 the sculptor Denys Foyatier, an old family friend, persuaded both Hippolyte and Paul to train as artists. He introduced them to the sculptor Jean-Francois Legendre-Heral (1796-1851) and the painter Andre Magnin (1794-1823), with whom they worked copying engravings and plaster casts. After Magnin death, Legendre-Heral took the brothers to the animal and landscape painter Jean-Antoine Duclaux (1783-1868). Hippolyte and Paul had both learnt the techniques of lithography from Auguste at an early age, and between the ages of 14 and 19 Hippolyte produced a number of lithographs, which he sold to supplement the family income. Many reflected his passion for military subjects (e.g. Cossacks in a Bivouac, c. 1825; Paris, Bib. N.). In 1826 the two brothers entered the Ecole des Beaux-Arts in Lyon, where Hippolyte studied under Pierre Revoil. Showing a precocious talent, he was soon advised to move to Paris, and having left the Ecole des Beaux-Arts in Lyon in 1829, he walked to the capital with his brother Paul; together they enrolled in the studio of Ingres. After several unsuccessful attempts, Hippolyte won the Grand Prix de Rome in 1832 with Theseus Recognized by his Father (1832; Paris, Ecole N. Sup. B.-A.), despite having suffered from cholera during the competition. His success was all the more spectacular given the general hostility to Ingres; Hippolyte was the first of his pupils to be awarded this prestigious prize. Hippolyte arrived in Rome in 1833; Paul joined him there in 1834. After first working on such subjects as Virgil and Dante in Hell (1836; Lyon, Mus. B.-A.), Hippolyte developed a taste for religious works during this stay. From 1836 to 1837 he worked on St Clare Healing the Blind for the cathedral in Nantes, winning a first-class medal at the 1837 Salon, and in 1838 he painted Christ Blessing the Children (Lisieux, Mus. Vieux-Lisieux), which was exhibited at the 1839 Salon.
BOSSE, Abraham
French Baroque Era Engraver, 1602-1676 Roughly 1600 etchings are attributed to him, with subjects including: daily life , religion, literature , history, fashion[8], technology, and science. Most of his output was illustrations for books, but many were also sold separately. His style grows from Dutch and Flemish art, but is given a strongly French flavour. Many of his images give fascinating and informative detail about middle and upper-class daily life in the period, although they must be treated with care as historical evidence. His combination of very carefully depicted grand interiors with relatively trivial domestic subjects was original and highly influential on French art, and also abroad ?? William Hogarth's engravings are, among other things, a parody of the style. Most of his images are perhaps best regarded as illustrations rather than art. Watercolour of a ball by Abraham Bosse, a similar subject to many of his most famous etchingsHe was apprenticed in Paris about 1620 to the Antwerp-born engraver Melchior Tavernier (1564?C1641), who was also an important publisher. His first etchings date to 1622, and are influenced by Jacques Bellange. Following a meeting in Paris about 1630, he became a follower of Jacques Callot, whose technical innovations in etching he popularised in a famous and much translated Manual of Etching(1645), the first to be published. He took Callot's highly detailed small images to a larger size, and a wider range of subject matter. Unlike Callot, his declared aim, in which he largely succeeded, was to make etchings look like engravings, to which end he sacrificed willingly the freedom of the etched line, whilst certainly exploiting to the full the speed of the technique. Like most etchers, he frequently used engraving on a plate in addition to etching, but produced no pure engravings.
Delaunay, Robert
French Cubist Painter, 1885-1941 French painter, printmaker and writer. Taking Cubism as one of his points of departure, he first developed a vocabulary of colour planes only distantly dependent on observed motifs, and by the 1930s he had arrived at a purely self-sufficient language of geometric forms. He remained active as a theoretician until the end of his life,