Born in Fontainebleau, France, as the son of the painter-engraver Pieter van Schuppen, he worked in the Netherlands before moving to Vienna. He was taught to paint by his father and his uncle Nicolas de Largilliere. In 1719 he was registered in Luneville, but he moved in the same year to Vienna where he became court painter. In 1725 he was appointed director of the Academy of Fine Arts Vienna, when it was refounded by Emperor Charles VI as the k.k. Hofakademie der Maler, Bildhauer und Baukunst (Imperial and Royal Court Academy of painters, sculptors and architecture).  Related Paintings of Jacob van Schuppen :. | Self portrait | Selbstbildnis vor der Staffelei | Eugene | The Guitar Player | Prince of Savoy Carignan |
Related Artists:
Carel Fabritus
1622-1654 Dutch Carel Fabritus Locations Painter. His oeuvre consists of a scant dozen paintings, since research has rigorously discounted many previously attributed works. These few paintings, however, document the painter unique development within his brief 12-year career. He is often mentioned as being the link between Rembrandt and the Delft school, particularly Pieter de Hooch and Jan Vermeer, whose depiction of light owes much to Fabritius late works in which his use of cool silvery colours to define forms in space marks a radical departure from Rembrandt use of chiaroscuro.
Jules-Adolphe Goupil
1839-1883 French Jules-Adolphe Goupil Gallery
Charles M Russell
American Painter, 1864-1926 American painter and sculptor. In 1880 he left his upper-class home in St Louis for Montana Territory. He worked briefly on a sheep ranch, spent two years as a hunter's and trapper's assistant and then became a cowboy. During his considerable spare daytime hours he painted, sketched and modelled small animal figures in clay (e.g. Antelope, 1915; Fort Worth, TX, Amon Carter Mus.). Although he painted a few exceptional oils and watercolours prior to 1900, the vast majority of his best work was done in the last two decades of his life. Typically the subject-matter centres around cowboy life (e.g. Wagon Boss, 1909; Tulsa, OK, Gilcrease Inst. Amer. Hist. & A.) and the Plains Indians, for whom he had great respect. The luminous Piegans (1918; Denver, CO, Mus. W. A.), with its depiction of the Plains Indians, is a reminder of the vastness of the American West. Russell's sense of humour and empathy for his subject-matter radiates from his paintings as pleasingly as do the clear colours of the high country. His bronze sculptures (e.g. Buffalo Hunt, 1905; Denver, CO, Mus. W. A.) depict the same dramatic and tension-packed themes as his paintings.