American Tonalist Painter and Printmaker, 1834-1903, He was an American-born, British-based artist. Averse to sentimentality and moral allusion in painting, he was a leading proponent of the credo "art for art's sake". His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail.   Related Paintings of James Abbott Mcneill Whistler :. | nocturne i svart och guld den fallande raketen | Miss Rosa Corder | Nocturne inblauw and silver of the lights of Cremorne | Nocturne in Black and Gold | Portrait of Whistler with Hat |
Related Artists:
James Gunn
1753 - 1801
Gabriel Metsu
1629-1667 Dutch Gabriel Metsu Galleries One of his earliest pictures is the "Lazarus" at the Strassburg Museum, painted under the influence of Jan Steen. In 1653 under the influence of Rembrandt he painted "Woman taken in Adultery," a large picture which is now in the Louvre. To the same period belong the "Departure of Hagar," formerly in the Thore collection, and the "Widow's Mite" at the Schwerin Gallery. But he probably observed that sacred art was ill suited to his temper, or he found the field too strongly occupied, and turned to other subjects for which he was better fitted. That at one time he was deeply impressed by the vivacity and bold technique of Frans Hals can be gathered from Lord Lonsdale's picture of "Women at a Fishmonger's Shop." What Metsu undertook and carried out from the first with surprising success was the low life of the market and tavern, contrasted, with wonderful versatility, by incidents of high life and the drawing-room. In no single instance do the artistic lessons of Rembrandt appear to have been lost upon him. The same principles of light and shade which had marked his schoolwork in the "Woman taken in Adultery" were applied to subjects of quite a different kind. A group in a drawing-room, a series of groups in the market-place, or a single figure in the gloom of a tavern or parlour, was treated with the utmost felicity by fit concentration and gradation of light, a warm flush of tone pervading every part, and, with that, the study of texture in stuffs was carried as far as it had been by Ter Borch or Gerard Dou, if not with the finish or the brio of De Hooch. One of the best pictures of Metsu's manhood is the "Market-place of Amsterdam," at the Louvre, respecting which it is difficult to distribute praise in fair proportions, so excellent are the various parts, the characteristic movement and action of the dramatis personae, the selection of faces, the expression and the gesture, and the texture of the things depicted. Equally fine, though earlier, are the "Sportsman" (dated 1661) and the "Tavern" (also 1661) at the Hague and Dresden Museums, and the "Game-Dealer's Shop," also at Dresden, with the painter's signature and 1662. Gabriel Metsu, Man Writing a Letter (1662-1665), Oil on canvas, National Gallery of Ireland, DublinAmong the five examples of the painter in the Wallace Collection, are "The Tabby Cat," and "The Sleeping Sportsman," which cost Lord Hertford £ 3000, is an admirable example technically considered. Among his finest representations of home life are the "Repast" at the Hermitage in St Petersburg; the "Mother nursing her Sick Child" in the Rijksmuseum in Amsterdam; the "Amateur Musicians" at the Hague Gallery; the "Duet" and the "Music Lesson" at the National Gallery, London, and many more examples at nearly all the leading European galleries. Five of his painting are in Dresden, collected by August the Strong.
GOLTZIUS, Hendrick
Dutch Baroque Era Painter and Engraver, 1558-1617 Dutch draughtsman, printmaker, print publisher and painter. He was an important artist of the transitional period between the late 16th century and the early 17th, when the conception of art in the northern Netherlands was gradually changing. Goltzius was initially an exponent of Mannerism, with its strong idealization of subject and form. Together with the other two well-known Dutch Mannerists, Karel van Mander I and Cornelis Cornelisz. van Haarlem, he introduced the complex compositional schemes and exaggeratedly contorted figures of Bartholom?us Spranger to the northern Netherlands. These three artists are also supposed to have established an academy in Haarlem in the mid-1580s, but virtually nothing is known about this project. In 1590 Goltzius travelled to Italy, thereafter abandoning Spranger as a model and developing a late Renaissance style based on a broadly academic and classicizing approach. Later still, his art reflected the growing interest in naturalism that emerged in the northern Netherlands from c. 1600.