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 :. | Young man with a skull | Portrait of a Man. | Gypsy Girl | Portrait of Jean de la Chambre. | Youth with a Skull |
Related Artists:
Francis Towne
English Painter, 1739-1816 was an English water-colour painter. He was born in Isleworth, Middlesex, the son of a corn chandler. Apprenticed to a coach painter in London, he won a design prize from the Society of Arts, and studied for a while at St Martin??s Lane Academy. In 1763 he was employed by a coach painter called Thomas Watson, and went to Exeter on business. He had already begun painting in oils and also taught drawing, and now he began to accept commissions from wealthy families in Devon. After a tour of north Wales in 1777, undertaken with his friend, the lawyer John White, he began to specialize in water-colours. In 1780 he travelled to Rome and from there to Naples. On his return to Devon, he was asked by Sir Thomas and Lady Acland of Killerton to paint some views in Devon and North Wales, and in 1786 he went on a painting tour of the Lake District
Brewster john
American portrait Painter, 1766-1854
Henry Wallis
British 1830-1916 1916). English painter, writer and collector. He first studied at F. S. Cary academy and in 1848 entered the Royal Academy Schools, London. He is also thought to have trained in Paris at some time in the late 1840s or early 1850s, first in Charles Gleyre atelier and subsequently at the Ecole des Beaux-Arts. He specialized in portraits of literary figures and scenes from the lives of past writers, as in Dr Johnson at Cave, the Publisher (1854; untraced). His first great success was the Death of Chatterton (London, Tate), which he exhibited at the Royal Academy in 1856. The impoverished late 18th-century poet Thomas Chatterton, who while still in his teens had poisoned himself in despair, was a romantic hero for many young and struggling artists in Wallis day. He depicted the poet dead in his London garret, the floor strewn with torn fragments of manuscript and, tellingly, an empty phial near his hand. The painting was universally praised, not least by John Ruskin who described it as faultless and wonderful, advising visitors to examine it well, inch by inch. Although Wallis was only loosely connected with the Pre-Raphaelite movement, his method and style in Chatterton reveal the importance of that connection: the vibrant colours and careful build-up of symbolic detail are typical Pre-Raphaelite concerns. The success of Chatterton was such that, when exhibited in Manchester the following year, it was protected from the jostling crowds by a policeman. It was bought by another artist, Augustus