(1588 - Nov 1, 1629) was a Dutch painter, and a leading member of the Dutch followers of Caravaggio ?? the so-called Dutch Caravaggisti. Little is known of the early life of ter Brugghen; he could have been born in The Hague, but his family seems to have moved to the strongly Catholic Utrecht in the early 1590s. Here he started painting at the age of thirteen, studying with Abraham Bloemaert. From Bloemaert, a Mannerist history painter, he learned the basics of the art. Around 1604, however, ter Brugghen travelled to Italy to expand his skills, a rather unusual move for Dutch painters at the time. He was in Rome in 1604, and could therefore have been in direct contact with Caravaggio.  Related Paintings of Hendrick ter Brugghen :. | Leda and the Swan | The Calling of St. Matthew | Selling His Birthright | The Concert | Hendrick ter Brugghen, Flute Player |
Related Artists:
CARPI, Girolamo da
b. 1501, Ferrara, d. 1556, Ferrara His father Tommaso ( fl 1503-23) was a painter and decorator at the court of the Este in Ferrara, and Girolamo was trained in the workshop of Garofalo. He visited Rome in the early 1520s (Fioravanti Baraldi) and was in Bologna in 1525, where he worked with Biagio Pupini and Giovanni Borghese on the decoration of the sacristy of S Michele in Bosco. Around this time (1525) he painted the altarpiece of the Virgin Enthroned with Saints
Giovanni Antonio Boltraffio
was an Italian painter of the High Renaissance from Lombardy, who worked in the studio of Leonardo da Vinci.[2] Boltraffio and Bernardino Luini are the strongest artistic personalities to emerge from Leonardo's studio. According to Giorgio Vasari, he was of an aristocratic family and was born in Milan. His major painting of the 1490s is the Resurrection (painted with fellow da Vinci pupil Marco d'Oggiono and now in the Gemäldegalerie, Berlin). A Madonna and Child in the Museo Poldi Pezzoli of Milan, is one of the high points of the Lombard Quattrocento. His portraits, often in profile, and his half-length renderings of the Madonna and Child are Leonardesque in conception, though the clean hard edges of his outlines lack Leonardo's sfumato. In Bologna, where he remained in 1500-1502, he found sympathetic patrons in the Casio family, of whom he painted several portraits and for whom he produced his masterwork, the Pala Casio for the Church of the Misericordia (Louvre Museum); it depicts a Madonna and Child with John the Baptist and Saint Sebastian and two Kneeling Donors, Giacomo Marchione de' Pandolfi da Casio and his son, the Bolognese poet Girolamo Casio[3], who mentioned Boltraffio in some of his sonnets. Boltraffio's portrait of Girolamo Casio is at the Pinacoteca di Brera, Milan.
Leslie Ward
British Illustrator caricaturist and portrait painter , (1851-1922), was a British portrait artist and caricaturist who drew or painted numerous portraits which were regularly published by Vanity Fair, under the pseudonym "Spy". Ward was one of eight children of artists Edward Matthew Ward and Henrietta Ward, and the great-grandson of the artist James Ward. Although they had the same surname before marriage, Ward's parents were not related. Both were well-known history painters, his mother coming from a line of painters and engravers, including her father, the engraver and miniature painter George Raphael Ward, and her grandfather, the celebrated animal painter James Ward. She was niece and great-niece respectively of the portrait painter John Jackson and the painter George Morland. Both parents had studios in their homes in Slough in Buckinghamshire and Kensington in London, where they regularly entertained the London artistic and literary elite. Ward's father was a gifted mimic who entertained Charles Dickens and other eminent guests. Although they never gave their son formal training, they and their artistic friends encouraged the young Ward to draw, paint, and sculpt.[1] Ward had started caricaturing while still at school at Eton in Windsor, using his classmates and school masters as subjects. In 1867 his bust of his brother was exhibited at the Royal Academy in London. At school Ward had been an unexceptional student, and after he left Eton in 1869 his father encouraged him to train as an architect. Ward was too afraid to tell his father that he wanted to be an artist and he spent an unhappy year in the office of the architect Sydney Smirke, who was a family friend.