1659-1743 French Hyacinthe Rigaud Gallery He was born Jacint Rigau i Ros [1] -- though in many encyclopaedias is "re-christened" with the name of H??acint Francesc Honrat Mathias Pere Martyr Andreu Joan Rigau -- in Perpignan, which became French (Treaty of the Pyrenees) a short time after his birth (November 7, 1659). In 1682, he was awarded the Prix de Rome. He was the most important portrait painter in the reign of King Louis XIV. His instinct for impressive poses and grand presentations precisely suited the tastes of the royal personages, ambassadors, clerics, courtiers, and financiers who sat for him. Because Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions. Rigaud was a master of the Baroque style of art. Rigaud's best-known work is his 1701 painting of Louis XIV which today hangs in the Louvre in Paris, as well as the second copy also requested by Louis XIV which is now at Versailles. In 1709 he was made a noble by his hometown of Perpignan. In 1727 he was made a knight of the Order of Saint Michael. Hyacinthe Rigaud died in Paris, France on December 27, 1743.  Related Paintings of Hyacinthe Rigaud :. | Marechal de France | Portrait de Jean-Francois de La Porte (1675-1745), seigneur de Meslay, fermier general | Portrait of David-Nicolas de Berthier eveque de Blois | Hercule de Fleury | La famille Laffite |
Related Artists:
Morgenstern, Christian
German, 1805-1867 German painter. After training from 1824 with Siegfried Bendixen (1786-1864) in Hamburg, he studied at the Kunstakademi in Copenhagen in 1827 and made sketching trips to Sweden and Norway. He then settled permanently in Munich. He was influenced in particular by 17th-century Dutch painters, notably Jacob van Ruisdael, the Copenhagen plein-air painters, the emerging Norwegian landscape school and the early Realist painters working in Munich, such as Johann Georg von Dillis. Morgenstern explored objective, pure landscape painting with intimate motifs in such works as Beech-tree Trunks in Fredericksdal near Copenhagen (1828; Hamburg, Ksthalle). He also painted scenes combining closely rendered foreground details with extensive,
Willem Bastiaan Tholen
was a Dutch painter, draftsman and printmaker, born in Amsterdam, 13 Feb 1860, died in The Hague, 5 Dec 1931. He came from an artistic family, who lived in Kampen from 1864. There he developed at an early age a lasting love of the Zuiderzee. In Kampen he became friendly with the young Jan Voerman; they entered the Amsterdam academy together in 1876, where Tholen studied under August Allebe. Subsequently he learned technical drawing at the Polytechnische School in Delft until 1878. Thereafter he spent three months in the studio of Paul Gabriël in Brussels, from whom he received his first real instruction in painting. In the following years Gabriël's advice was of particular importance for Tholen, as they worked together en plein air for many summers near Kampen and Giethoorn, among other places. In Gouda (1878-9) and Kampen (1880-85) he taught draftsmanship in order to support himself but after 1885 concentrated entirely on his own work. From 1887 he lived in The Hague, where he became friendly with the painters of The Hague school. He took an active part in the artistic life of The Hague and was a member of the Pulchri Studio.
BONZI, Pietro Paolo
ca. 1576, Cortona, d. 1636, Roma Pietro Paolo Bonzi (c. 1576-1636) also known as il Gobbo dei Carracci (hunchback of the Carracci) or il Gobbo dei Frutti (of fruits), was an Italian painter, best known for his landscapes and still-lifes. he was born in Cortona, he was part of the circle of Annibale Carracci and Domenichino, and trained under Giovanni Battista Viola in Rome. In Rome, he worked for Cardinal Pier Paolo Crescenzi in Rome. There are only two still-life paintings known with his signature; he thus forms one of the first Italian artists in Rome working in this style. The Giustiniani inventories of 1638 cite paintings by Bonzi and other still-lifes are documented in the 1670 inventory of Principe Lorenzo Onofrio Colonna's collection. He also worked in fresco and in 1622-23 worked with Pietro da Cortona on the ceiling of a gallery in the Palazzo Mattei di Giove. Other commissions cited by Baglione include his work in the Palazzo Pallavicini-Rospigliosi.