Dutch Baroque Era Painter, 1613-1675 Dutch painter. The first and most famous member of the group of artists referred to as the LEIDEN 'FINE' PAINTERS, he specialized in small-format paintings, the details and surfaces of which are carefully observed and meticulously rendered. He was greatly praised as a painter of artificial light by Samuel van Hoogstraten in 1678, and he was responsible for popularizing both the night scene and the 'niche' format, pictorial devices ultimately derived from the art of his famous master, Rembrandt.   Related Paintings of DOU, Gerrit :. | The Grocer s Shop | Old Woman Reading a Bible dfg | Self-Portrait | Portrait of a Woman dfhkg | An Interior with Young Violinist |
Related Artists:
Meindert Hobbema
1638-1709 Dutch Meindert Hobbema Galleries In the exercise of his craft Hobbema was patient beyond all conception. It is doubtful whether any one ever so completely mastered as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighbourhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the seasons. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical grey or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating, sometimes transiently, sometimes steadily, different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of the stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunities of charming our eye; and this wonderful artist, who is only second to Ruisdael because he had not Ruisdael's versatility and did not extend his study equally to downs and rocky eminences, or torrents and estuaries - this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to Adriaen van de Velde, Lingelbach, Barendt Gael, and Abraham Storck. As to this much is conjecture.
Leonaert Bramer
(24 December 1596 - 10 February 1674 (buried)) was a Dutch painter, best known for probably being one of the teachers of Johannes Vermeer, although there is no similarity between their work. Bramer's dark and exotic style is unlike Vermeer's style. Bramer was primarily a genre and history painter, but also made some unique frescos, not very often found north of the Alps. Leonaert Bramer is one of the most intriguing personalities in seventeenth-century Dutch art. He was a talented and diligent draughtsman, evidently Roman Catholic and a lifelong bachelor. Bramer was born in Delft. In 1614, at the age of 18, he left on a long trip eventually reaching Rome in 1616, via Atrecht, Amiens, Paris, Aix (February 1616), Marseille, Genoa, and Livorno. In Rome he was one of the founders of the Bentvueghels group of Northern artists. He lived with Wouter Crabeth and got into a fight with Claude Lorraine. He dedicated a poem to Wybrand de Geest. Bramer remained on and off in Rome until October 1627, visiting Mantua and Venice, often for deliveries and to meet Domenico Fetti. In Italy Bramer was nicknamed Leonardo della Notte ("Leonardo of the night"). In 1648 he went to Rome for a second time. By 1628 he was back in Delft, where he joined the Guild of Saint Luke in 1629 and the schutterij. Among his many patrons were members of the House of Orange, but local burgomasters and schepen also bought his paintings in great numbers.[3] He was a many sided artist, designing for tapestry firms in Delft, painting murals and ceilings, some of which are illusionistic in style. He painted real frescos in the Civic Guard house, the nearby stadholder's palaces in Honselersdijk, Rijswijk, the Communal Land Housde and the Prinsenhof in Delft.[3] Due to the Dutch climate they no longer survive. He evidently knew the greatest of his Delft contemporaries, Johannes Vermeer, as he came to the latter's defence when his future mother-in-law was trying to prevent him from marrying her daughter.
Massimo Stanzione
(also called Stanzioni; c. 1586 - c. 1656) was an Italian Baroque painter, mainly active in Naples. Massimo Stanzione was an Italian Baroque painter. Born in Naples in 1586, Massimo was greatly influenced by Michelangelo Merisi da Caravaggio, but what earned him the nickname of The Neapolitan Guido Reni was his sophisticated and graceful style. The thing that distinguished Massimo art from Carravaggism was that he combined Caravaggio dramatically lit and brutally realistic style with the classical and lyrical manner of Bolognesi painters. Though his preliminary training is uncertain, it is thought that he studied with Fabrizio Santafede; however, most of the influence he received was from Caravaggio. Art historians believe that Stanzione developed his career as an artist in Rome. It is thought that he bagan his career as a portraitist. Some of his most famous works include Portrait of a Woman in Popular Costume, and Portrait of Jerome Banks. Between 1617 and 1630, it is believed that he traveled between the papal city and his hometown of Naples exploring different styles of art. Also influenced by Caravaggio were Artemisia Gentileschi, Simon Vouet, and Carlo Saraceni. During Stanzione career a movement that changed the style of art was formed. Stanzione was a part of this movement. This movement transformed the dark, contrasted Caravaggio-styled art into Bolognese colorism and soft art.