1554-1640 Italian Jacopo da Empoli Location Italian painter and draughtsman. He lived and worked in Florence all his life, and he followed Santi di Tito in the return to the clarity of the Florentine High Renaissance. He absorbed the ideas of his more innovative contemporaries and became one of the most popular painters of altarpieces for churches in Florence and Tuscany. He was also a distinguished still-life painter and received many commissions from private patrons, among them the Medici. Empoli painting is distinguished by simple, lucid forms, strong colour and direct and clear interpretation of the subject.  Related Paintings of Jacopo da Empoli :. | Kuchenstuck | The Integrity of St. Eligius | St.Ivo,Protector of Widows and Orphans | The Sacrifice of Isaac | Susanna and the Elders |
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Jan provoost
Dutch, born circa 1465-1529,South Netherlandish painter. He probably came into contact with Simon Marmion, the renowned painter and book illuminator from Valenciennes, via Jacquemart Pilavaine, a publisher and illuminator in his native Bergen. Provoost married Marmion's widow, Jeanne de Quaroube, before 1491, and it is thus assumed that Marmion was his teacher. In 1493 Provoost moved to Antwerp, a promising town for artists, where he registered as a master in the Guild of St Luke, but in 1494 he travelled to Bruges. He became a citizen there and soon played an important part in the painters' guild. In 1506 Maximiliaen Frans (1490-1547) was his pupil. Provoost received commissions for decorative work from the town council and church authorities in 1509, 1513 and 1520, the year of the Triumphal Entry of Charles V into Bruges, for which he worked on the decorations. He returned to Antwerp the same year to meet Albrecht Derer, who may have drawn his portrait. Derer visited Bruges in April 1521 and was Provoost's guest. Of Jan Provoost's children, Adriaen Provoost (b 1508) became a painter and Thomas Provoost a glassmaker, both active in Bruges. Jan Provoost's time as a pupil in a northern French miniaturist's workshop was of decisive influence on his later oeuvre. His work radiates assurance, with its precise drawing, restrained expression and airy landscapes, and he was successful in Bruges, where there was little competition after Hans Memling's death in 1494.
Paxton, William McGregor
American Painter, 1869-1941 was an American Impressionist painter. Born in Baltimore, the Paxton family came to Newton Corner in the mid-1870s, where William's father James established himself as a caterer. At 18, William won a scholarship to attend the Cowles Art School, where he began his art studies with Dennis Miller Bunker. Later he studied with Jean-L??on G??rôme in Paris and, on his return to Boston, with Joseph DeCamp at Cowles. There he met his future wife Elizabeth Okie, who also was studying with DeCamp. After their marriage, William and Elizabeth lived with his parents at 43 Elmwood Street, and later bought a house at 19 Montvale Road in Newton Centre. Paxton, who is best known as a portrait painter, taught at the Museum School from 1906 to 1913. Along with other well known artists of the era, including Edmund Charles Tarbell and Frank Benson, he is identified with the Boston School. Like many of his Boston colleagues, Paxton found inspiration in the work of the seventeenth-century Dutch painter Johannes Vermeer. Paxton was fascinated not only with Vermeer's imagery, but also with the system of optics he employed. He studied Vermeer's works closely, and discovered that only one area in his compositions was entirely in focus, while the rest were somewhat blurred. Paxton ascribed this peculiarity to "binocular vision," crediting Vermeer with recording the slightly different point of view of each individual eye that combine in human sight. He began to employ this system in his own work, including The New Necklace, where only the gold beads are sharply defined while the rest of the objects in the composition have softer, blurrier edges.
BERCHEM, Nicolaes
Dutch Baroque Era Painter, 1620-1683 Nicolaes Pieterszoon Berchem (1 October 1620 - 18 February 1683) was a highly esteemed and prolific Dutch painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number allegories and genre pieces. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Jan Wils and Claes Cornelisz. Moeyaert. (It is not known why he called himself Berchem or Berighem, and other variants). For some time it was supposed Berchem traveled to Italy with a fellow painter Jan Baptist Weenix, whom he called his cousin. In 1645 he became a member of the Dutch reformed church and married the year after. Being a widower he married the daughter of Jan Wils. Around 1650 he did travel to Westphalia with Jacob van Ruisdael. May be Berchem went to Italy after this trip and before he moved to Amsterdam. Around 1660 he worked for the engraver Jan de Visscher designing an atlas. In 1670 he moved back to Haarlem, but Berchem died in Amsterdam in 1683. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks. The French Rococo painter Jean-Baptiste Pillement was influenced by his works.