British Painter and Printmaker, 1697-1764 English painter and engraver. He played a crucial part in establishing an English school of painting, both through the quality of his painting and through campaigns to improve the status of the artist in England. He also demonstrated that artists could become independent of wealthy patrons by publishing engravings after their own paintings.   Related Paintings of HOGARTH, William :. | Company in Wanstead House | Self-portrait (mk08) | The Painter and his Pug f | The Shrimp Girl (mk08) | Before the Seduction and After sf |
Related Artists:
George Richmond
English Painter, 1809-1896 Painter, draughtsman and engraver. He was a precocious draughtsman. In 1824 he entered the Royal Academy, London, the same year as Edward Calvert, who was a part-time student of Joseph Severn. Richmond first exhibited at the Academy in 1825 and that year met William Blake in the Highgate house of John Linnell (ii). Like his lifelong friend Samuel Palmer, Richmond fell under Blake's spell, comparing him to the Prophet Isaiah and forming close friendships with Blake's other disciples, including Calvert. He visited Palmer at Shoreham, chiefly in the summer of 1827, and both he and Calvert became prominent members of Palmer's band of ANCIENTS, who frequented the Kent village in the late 1820s and early 1830s. The tempera panel Abel the Shepherd (1826; London, Tate) is typical of Richmond's early paintings, which reflect the pronounced influence of both Blake and Palmer. They are painted in an archaic style and include Christian and literary themes and high-minded if obscure genre subjects such as the Eve of Separation (1830; Oxford, Ashmolean). The human figure was central to these pictures as it was not for Palmer, who expressed sentiment through landscape motifs. Richmond was also active as a draughtsman and miniaturist during this period; his Christ-like head of Palmer, in watercolour and gouache on vellum (London, N.P.G.), dates from 1829.
NATTIER, Jean-Marc
French Rococo Era Painter, 1685-1766 Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Acad?mie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as 'cold'. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud's famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Acad?mie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage).
SANCHEZ COELLO, Alonso
Spanish Painter, ca.1531-1588 was a portrait painter of the Spanish Renaissance and one of the pioneers of the great tradition of Spanish portrait painting. Alonso Senchez Coello spent his childhood in Benifair de les Valls, until the death of his father when he was around ten years old. He was educated in Portugal at his grandfather's home. Coello's years in Portugal and his family name of Portuguese origin led to a long-standing belief that he was in fact Portuguese. His grandfather (after whom he was named) was in the service of King John III of Portugal who sent the young painter to study with Anthonis Mor (also known as Antonio Moro) in Flanders around 1550. He was under the service of Antoine de Granville, bishop of Arras, learning from Mor. While studying in Flanders, Coello also spent time copying some of Titian's works. In 1552, the painter went to Lisbon with Anthonis Mor when Charles V commissioned Mor to paint the Portuguese royal family. For a few years, Senchez Coello remained in Portugal working for the court of the heir to the throne, John, Crown Prince of Portugal. After the prince's death, Senchez Coello moved to the Spanish court of Philip II, having been recommended by the widow of John, Juana, who was the sister of the Spanish king. In 1555, S??nchez Coello was in Valladolid working for the Spanish court, and when Mor left Spain in 1561, Senchez Coello took his former master's place as Court Painter. Senchez Coello married Louisa Reyaltes in either 1560 or 1561 in Valladolid, and they had seven children. Coello's daughter, Isabel Senchez (1564-1612),