Flemish Baroque Era Painter, 1599-1641 Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck's studies in oil of characterful heads were included in Rubens's estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses,  Related Paintings of Dyck, Anthony van :. | The Genoese Senator | Portrat Karl des I | Cupid and Psyche (mk25) | Charles Iwith Monsieur de St Antoine (mk25) | Portrait of James Stuart,Duke of Richmond and Fourth Duke of Lennox |
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John French Sloan
(August 2, 1871 - September 7, 1951) was a U.S. artist. As a member of The Eight, a group of American artists, he became a leading figure in the Ashcan School of realist artists. He was known for his urban genre painting and ability to capture the essence of neighborhood life in New York City, often through his window. Sloan has been called "the premier artist of the Ashcan School who painted the inexhaustible energy and life of New York City during the first decades of the twentieth century",and an "early twentieth-century realist painter who embraced the principles of socialism and placed his artistic talents at the service of those beliefs."
Martin van Meytens
(June 24, 1695 - March 23, 1770) was a Swedish-Austrian painter who painted members of the royal Court of Austria such as Marie Antoinette, Maria Theresa of Austria, Francis I, Holy Roman Emperor, the Emperor's family and others. His painting style has inspired many other painters to paint in a similar format.
Albert Anker
1831-1910 Swiss Albert Anker Galleries During his studies, Anker produced a series of works with historical and biblical themes, including paintings of Luther and Calvin. Soon after returning to Ins, though, he turned to what would become his signature theme: the everyday life of people in rural communities. His paintings depict his fellow citizens in an unpretentious and plain manner, without idealising country life, but also without the critical examination of social conditions that can be found in the works of contemporaries such as Daumier, Courbet or Millet. Although Anker did paint occasional scenes with a social significance, such as visits by usurers or charlatans to the village, his affirmative and idealistic Christian world-view did not include an inclination to issue any sort of overt challenge. Also prominent in Anker's work are the more than 30 still lifes he created. They depict both rural and urban table settings in the tradition of Chardin, their realist solidity reflecting Anker's vision of a harmonic and stable world order. In addition, Anker created hundreds of commissioned watercolours and drawings, mostly portraits and illustrations, including for an edition of Jeremias Gotthelf's collected works. To provide for a steady income, Anker also decorated more than 500 faience plates for the Alsatian producer Theodore Deck. Anker was quick to reach his artistic objectives and never strayed from his chosen path. His works, though, exude a sense of conciliation and understanding as well as a calm trust in Swiss democracy; they are executed with great skill, providing brilliance to everyday scenes through subtle choices in colouring and lighting. Their parochial motives belie the open-mindedness towards contemporary European art and events that Anker's correspondence reflects.