1580-1666 Frans Hals Galleries In the field of group portraiture his work is equalled only by that of Rembrandt. Hals's portraits, both individual and group, have an immediacy and brilliance that bring his sitters to life in a way previously unknown in the Netherlands. This effect, achieved by strong Baroque designs and the innovative use of loose brushstrokes to depict light on form, was not to the taste of critics in the 18th century and the early 19th, when his work was characterized as lazy and unfinished. However, with the rise of Realism and, later, Impressionism, Hals was hailed as a modern painter before his time. Since then his works have always been popular.  Related Paintings of Frans Hals :. | The Laughing Cavalier | Maria Pietersdochter Olycan | Portrait of a Man. | Der Mulatte | Boy with a Lute |
Related Artists:
Jacopo Bassano
Italian c1510-1592 Jacopo Bassano Gallery He was apprenticed to his father, with whom he collaborated on the Nativity (1528; Valstagna, Vicenza, parish church). In the first half of the 1530s Jacopo trained in Venice with Bonifazio de Pitati, whose influence, with echoes of Titian, is evident in the Flight into Egypt (1534; Bassano del Grappa, Mus. Civ.). He continued to work in the family shop until his fathers death in 1539. His paintings from those years were mainly altarpieces for local churches; many show signs of collaboration. He also worked on public commissions, such as the three canvases on biblical subjects (1535-6; Bassano del Grappa, Mus. Civ.) for the Palazzo Communale, Bassano del Grappa, in which the narrative schemes learnt from Bonifazio are combined with a new naturalism. From 1535 he concentrated on fresco painting, executing, for example, the interior and exterior decoration (1536-7) of S Lucia di Tezze, Vicenza, which demonstrates the maturity of his technique.
Osbert, Alphonse
French Symbolist Painter, 1857-1939 French painter. He studied at the Ecole des Beaux-Arts and in the studios of Henri Lehmann, Fernand Cormon and L?on Bonnat. His Salon entry in 1880, Portrait of M. O. (untraced), reflected his early attraction to the realist tradition of Spanish 17th-century painting. The impact of Impressionism encouraged him to lighten his palette and paint landscapes en plein air, such as In the Fields of Eragny (1888; Paris, Y. Osbert priv. col.). By the end of the 1880s he had cultivated the friendship of several Symbolist poets and the painter Puvis de Chavannes, which caused him to forsake his naturalistic approach and to adopt the aesthetic idealism of poetic painting. Abandoning subjects drawn from daily life, Osbert aimed to convey inner visions and developed a set of pictorial symbols. Inspired by Puvis, he simplified landscape forms, which served as backgrounds for static, isolated figures dissolved in mysterious light. A pointillist technique, borrowed from Seurat, a friend from Lehmann's studio, dematerialized forms and added luminosity. However, Osbert eschewed the Divisionists' full range of hues in his choice of blues, violets, yellows and silvery green. Osbert's mysticism is seen in his large painting Vision
Vicente Lopez y Portana
(September 19, 1772, Valencia, Spain CJuly 22, 1850, Madrid, Spain) was a Spanish painter, considered the best portrait painter of his time. Vicente Lepez y Portaña was born in Valencia on September 19, 1772. His parents were Cristebal Lepez Sanchordi and Manuela Portaña Meer. Vicente Lepez began formally studying painting in Valencia at the age of thirteen, he was a disciple of father Antonio de Villanueva, a Franciscan monk, and he studied at the Academy of San Carlos in his native city. He was seventeen when he won first prize in drawing and coloring receiving a scholarship to study in the prestigious Academia Real de Bellas Artes de San Fernando in Madrid. For the following three years in Madrid, he apprenticed with the Valencian painter, Mariano Salvador Maella. Vicente Lepez returned to Valencia in 1794 and subsequently became vice-director of painting at the Academy where he had studied as a boy. In 1795 he married Maria Piquer, they had two sons: Bernardo Lepez Piquer and Luis (1802-1865), who were also painters, following their father's style but with little accomplishments. In 1801 Lepez was named President of the Academy of San Carlos.