French b.Aug. 30, 1748, Paris d.Dec. 29, 1825, Brussels Jacques-Louis David is famous for his huge, dramatic canvasses of Napoleon and other historical figures, including Oath of the Horatii (1784), Death of Marat (1793) and The Sabine Women (1799). Early in his career he was a leader in the neoclassical movement; later his subjects became more modern and political. David was himself active in the French Revolution as a supporter of Robespierre and is sometimes called the chief propagandist for the Revolution; after the Reign of Terror ended he was briefly imprisoned for his actions. When Napoleon took power David became his court painter and created several grand canvasses of the Emperor, including the heroic Napoleon Bonaparte Crossing the Alps (1801) and the enormous Coronation of Napoleon and Josephine (1807). David also painted Napoleon in His Study (1812), with its famous image of Napoleon with one hand tucked inside his vest. After Napoleon ouster David went in exile to Brussels, where he remained until his 1825 death  Related Paintings of Jacques-Louis David :. | The Farewell of Telemachus and Eucharis | Madame de Verninac,nee Henriette Delacroix,Sister of Eugene Delacroix,date Anno Septimo (mk05) | Cupid and Psyche1 | Portrait of Jacobus Blauw | Bonaparte Unfinished |
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KEIRINCKX, Alexander
Flemish painter (b. 1600, Antwerpen, d. 1652, Amsterdam). Flemish painter. He was the son of Matthijs Keirinckx and Anna Masson. In 1619 he became a master in Antwerp's Guild of St Luke, he married Clara Matthausen on 18 June 1622, and in 1624 he took on Artus Verhoeven as an apprentice. From 1636 onwards he is regularly recorded in Amsterdam, where he was registered as a citizen in the year of his death. He visited Great Britain, possibly in 1625 (Walpole mentions two signed and dated drawings of London views from this year) and definitely in 1640-41, when he undertook commissions from King Charles I to paint views of royal castles and palaces.
Eva Gonzales
French Impressionist Painter, 1849-1883.was a French Impressionist painter. Like her teacher, Edouard Manet, she never exhibited with the Impressionist painters in their controversial exhibitions in Paris, but she is considered part of the group because of her painting style. She was Manets only formal student and modeled frequently for several members of the Impressionist school. She married Henri Guerard and used him and her sister Jeanne Gonzales as the subjects for many of her paintings. Her career was cut short when she died in childbirth at the age of thirty-four, exactly six days after the death of her teacher, Manet. The painting she is completing in Manets Portrait of Eva Gonzales demonstrates the mastery she had achieved at that age. However, it should be noted that this depiction of Gonzales is less than flattering in that her dress, her posture and technique are not actually not those of a professional to painting. The work that Gonzales is working on is in actuallity not her own, but actually one of Manets paintings
BOSSE, Abraham
French Baroque Era Engraver, 1602-1676 Roughly 1600 etchings are attributed to him, with subjects including: daily life , religion, literature , history, fashion[8], technology, and science. Most of his output was illustrations for books, but many were also sold separately. His style grows from Dutch and Flemish art, but is given a strongly French flavour. Many of his images give fascinating and informative detail about middle and upper-class daily life in the period, although they must be treated with care as historical evidence. His combination of very carefully depicted grand interiors with relatively trivial domestic subjects was original and highly influential on French art, and also abroad ?? William Hogarth's engravings are, among other things, a parody of the style. Most of his images are perhaps best regarded as illustrations rather than art. Watercolour of a ball by Abraham Bosse, a similar subject to many of his most famous etchingsHe was apprenticed in Paris about 1620 to the Antwerp-born engraver Melchior Tavernier (1564?C1641), who was also an important publisher. His first etchings date to 1622, and are influenced by Jacques Bellange. Following a meeting in Paris about 1630, he became a follower of Jacques Callot, whose technical innovations in etching he popularised in a famous and much translated Manual of Etching(1645), the first to be published. He took Callot's highly detailed small images to a larger size, and a wider range of subject matter. Unlike Callot, his declared aim, in which he largely succeeded, was to make etchings look like engravings, to which end he sacrificed willingly the freedom of the etched line, whilst certainly exploiting to the full the speed of the technique. Like most etchers, he frequently used engraving on a plate in addition to etching, but produced no pure engravings.