Netherlandish Northern Renaissance Painter, ca.1440-1482 South Netherlandish painter. In 1467 he enrolled as master in the Ghent painters' guild, sponsored by Joos van Wassenhove, master painter in Ghent in 1464 after registering in Antwerp in 1460. In 1469 the two together acted as guarantors for the illuminator Sanders Bening when he became a master, and it was from Hugo that Joos borrowed money when he went to Rome. Sanders Bening was married to Kathelijn van der Goes, perhaps Hugo's sister. Hugo's status within the guild is further attested by the fact that he was guarantor for two other painters in 1471 and 1475, that he was one of the dean's jurors in 1468-9 and that he himself served as dean from towards the end of 1473-4 to at least 18 August 1475.  Related Paintings of GOES, Hugo van der :. | Adoration of the Shepherds sg | Calvary Triptych (detail) | Sts. Anthony and Thomas with Tommaso Portinari | The Adoration of the Shepherds (detail) | Calvary Triptych |
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Vincenzo Irolli
Italian,1860-1942
Giuseppe Antonio Petrini
(October 23, 1677- c. 1755-9) was a painter of the late-Baroque, active mainly in Lugano, present-day Switzerland. St. Andrew City Museum of Rimini, ItalyWhile born in Carona in Canton Ticino and died in Lugano, both in Switzerland, Petrini belongs to the Northern Italian or Lombard heritage of baroque painting. He possibly apprenticed with Bartolomeo Guidobono after 1700. While some works can be found in Como and Bergamo, most are located in Lugano and the surrounding area. He is also listed between 1711 and 1753 as fabbriciere of the church of Madonna deOnegro in Carona. He often painted "portraits" of historical figures including saints, philosophers, and scientists for patrons. One of his more prominent examples is his depiction of an auster St. Peter emerging from the shadows to pinpoint some lines in the gospel. He painted another St. Peter for the parish church of Dubino. Pietro Ligari classified him among the speculative painters, since these portraits, by nature, were imagined.
Hugh Douglas Hamilton
(c. 1740 - 10 February 1808) was an Irish portrait-painter. Biography Hamilton was born in Crow Street, in Dublin, Ireland, in 1740, the son of a peruke maker. Unfortunately there is very little concrete evidence for his earlylife, apart from his own drawings. He studied art under Robert West at the Dublin Society House - and won some early success with crayon and pastel portraits there. He was very adept at building relationships with patrons from the early days, taking up with the famous La Touche banking family of Dublin, who had close ties with the Bank of Ireland. Very little is known of Hamilton's career between 1756 and 1764, when he moved to London. Hamilton found great success in London through his pastel oval portraits, portraying royalty, politicians and celebrities of the day through this medium. Hamilton was often overwhelmed with orders, including commissions from the British royal family - such as Queen Charlotte (1764) and others now in the British Royal Collection. He showed with the Society of Artists and the Free Society of Artists from the mid-1760s to the mid-1770s. From the mid-1770s on, Hamilton became very interested in a softer, more textural form of pastel "fresco", in which he blended crayons and chalk to further the pastel's ability to imitate flesh. In 1779 he travelled to Italy, where he remained for the next twelve years, occasionally visiting Florence but mainly based in Rome, where he knew Antonio Canova. On the advice of artist John Flaxman Hamilton turned to oil painting, and achieved great success with small oval portraits of Irish and British visitors. His portraits of this period include those of Dean Kirwan (displayed at the Royal Dublin Society), George John, 2nd Earl Spencer, Countess Cowper (1787), and the exiled Charles Edward Stuart ( Lord Edward, 1785). In 1791 Hamilton returned to Dublin, where he died. In 1796 he painted Lord Edward Fitzgerald, the Irish revolutionary.