1594-1652 Dutch Jacob Gerritsz Cuyp Locations Painter and draughtsman. Probably taught by his father, he entered the Guild of St Luke in Dordrecht in 1617, the same year that he executed an important commission to portray the masters of the Holland Mint (Dordrecht, Mus. van Gijn). He was the Guild bookkeeper in 1629, 1633, 1637 and 1641 and, according to Houbraken, led Dordrecht fine painters in their separation from the Guild in 1642. Jacob married Aertken van Cooten from Utrecht in 1618; his only child, (3) Aelbert Cuyp, was born two years later.  Related Paintings of Jacob Gerritsz Cuyp :. | La cosecha de fruta | The Shepherdess | A Boy with a Goose | Jacob Gerritsz Cuyp poiss hanega | Portrait of a Child |
Related Artists:
Carlo Bonavia
was an Italian painter known for idyllic landscape paintings, engravings and drawings. He was active from 1740 until his death in 1788. He is thought to be from Rome, but worked in Naples from about 1751 to 1788. He was trained in the Neapolitan landscape tradition of Salvator Rosa (1615-1673) and Leonardo Coccorante (1680-1750), but was much more strongly influenced by the work of Claude Joseph Vernet, who visited Naples in 1737 and 1746.
Peter Birmann
Swiss, 1758-1844,He began his career as a portrait painter in Basle and Pruntrut but in 1775 moved to Berne, where he took up landscape painting. From 1777 to 1781 he worked with Johann Ludwig Aberli and was also a colour-printer with the publisher Abraham Wagner (1734-82). In 1781 he went to Rome, where he remained for ten years working for Louis Ducros and for Giovanni Volpato. While in Rome he painted landscapes in watercolour and drew in bistre, using a soft brush and making little use of the pen. He also sketched in the Alban Hills, being particularly attracted to the waterfalls at Tivoli and Terni. He became a member of Goethe's circle in Rome, and, under the influence of its members, he adopted Claude as his model. His watercolours and bistre drawings, enlivened by Greco-Roman or contemporary staffage, became more tranquil, more classical in style and increasingly strengthened with pen outlines. In 1792 he returned to Basle to teach. He soon became an art dealer, opened his own shop and set up his own publishing house, and in 1802 he printed his best-known work, a series of aquatints of Voyage pittoresque de Basle ? Bienne par les vallons de Mottiers-Grandval. From 1802 to 1804 he showed at the annual exhibitions of the K?nstlergesellschaft in Zurich, and in 1804 and 1810 in Berne he exhibited work in oils, a medium that was becoming increasingly important for him. In 1805 he was commissioned by the publishing house of Artaria & Co. in Vienna to sketch the scenery in the region of the north Italian lakes. For the next 30 years he continued to paint and draw, but after 1834 he tended to repeat the locales and compositions of his earlier landscapes.
Jan Baptist Weenix
(Amsterdam, 1621- Vleuten 1660), a painter of the Dutch Golden Age. Despite his relatively brief career, he was a very productive and versatile painter. His favourite subjects were Italian landscapes with large figures among ruins, seaside views, and, later in life, large still life pictures of dead game or dogs. He was mainly responsible for introducing the Italian harbour scene into Dutch art, in mid-size paintings with a group of figures in the foreground. Weenix was the son of an architect and born near Amsterdam's harbour. He could not speak well, apparently from a medical condition, and because he very much liked to read books, his mother sent him to work for a bookseller, who was not able to deal with him. He drew whenever he could, according to Jan Weenix his son, who told the story to Arnold Houbraken. Weenix first studied under Jan Micker, then in Utrecht under Abraham Bloemaert, and later back in Amsterdam under Claes Cornelisz. Moeyaert. In 1643 Weenix travelled to Rome with Nicolaes Pieterszoon Berchem. He had left his home secretly, but his wife, the daughter of Gillis d'Hondecoeter, traced him to Rotterdam. Then he was allowed to stay away for four months. In Rome he became a member of the Bentvueghels and was much esteemed and worked for Pope Innocent X. He returned to Amsterdam after four years; his wife had refused to come to Rome. In 1649 he became master of the guild of St. Luke in Utrecht and also painted a portrait of Rene Descartes. When his brother-in-law Gijsbert d'Hondecoeter died, he trained his nephew Melchior d'Hondecoeter, together with his own son Jan Weenix. Weenix moved to a castle outside Utrecht, to concentrate on his work or for health reasons, where he probably died in poor circumstances, at an unknown date. He painted a few religious scenes, one of the rare pieces of this kind being the "Jacob and Esau" (Gemäldegalerie Alte Meister, Dresden). In the National Gallery, London, is a "Hunting Scene" by Weenix, and Glasgow has a characteristic painting of ruins. Weenix is represented at most of the important continental galleries, notably at Munich, Vienna, Berlin, Amsterdam, and St Petersburg.