1596-1656 Dutch Jan van Goyen Galleries Dutch landscape painter. He studied at Leiden and Haarlem. In 1631 he settled at The Hague. His typically Dutch landscapes of harbors, canals, riverbanks, and winter scenes with skaters and sleighs are naturalistically painted in a grayish-green tonality. He was one of the first landscape painters to sacrifice minute detail for atmospheric effect and space, and he had a considerable influence on later Dutch landscapists. His paintings are in many collections in Europe and the United States. Famous examples are Panorama of The Hague (The Hague); Banks of a Canal (Louvre); and View of Dordrecht (Rijks Mus.). The Metropolitan Museum has five of van Goyen's works, and the Pennsylvania Academy, two.   Related Paintings of Jan van Goyen :. | Smalschips | River Scene with a Fortified Shore | Beach at Scheveningen | Windmill | A Castle by a River with Shipping at a Quay |
Related Artists:
Mariotto Albertinelli
(October 13, 1474 - November 5, 1515) was a High Renaissance Italian painter of the Florentine school, closely involved with Fra Bartolomeo and influenced by Raphael. He was born in Florence. Already as a 12-year old boy, he became a pupil of Cosimo Rosselli, and a fellow-pupil with Fra Bartolomeo with whom he formed such an intimate brotherly rapport that in 1494 the two started their own studio in Florence. Vasari's opinion was that Mariotto was not so well grounded in drawing as Bartolomeo, and he tells that, to improve his hand he had taken to drawing the antiquities in the Medici garden, where he was encouraged by Madonna Alfonsina, the mother of Duke Lorenzo II de' Medici. When the Medici were temporarily banished in 1494, he returned to his friend, whose manner he copied so assiduously, according to Vasari, that his works were taken for Baccio's. When, in the wake of Savonarola's morality campaign, Baccio joined the Dominican order as Fra Bartolomeo in 1500 and gave up painting, Albertinelli, beside himself with the loss, would have joined him; but, spurred by his success in completing an unfinished Last Judgment of Bartolomeo's, he resolved to carry on alone. Among his many students were Jacopo da Pontormo, Innocenzo di Pietro Francucci da Imola and Giuliano Bugiardini. Mariotto was a most restless person and carnal in the affairs of love and apt to the art of living, and, taking a dislike to the studies and brain-wracking necessary to painting, being also often stung by the tongues of other painters, as is their way, he resolved to give himself to a less laborious and more jovial profession, and so opened the most lovely hostelry outside the Porta San Gallo, and at the sign of the Dragon at the Ponte Vecchio a tavern and inn. This life he led for many months, saying that he had taken up an art that was without muscles, foreshortening or perspective and, better still, without faultfinding, and that the art that he had given up imitated flesh and blood, but this one created flesh and blood; in this if you had good wine you heard yourself praised, but in that every day you were blamed. But at last the low life became an annoyance to him, and, filled with remorse, he returned to painting.
SALUCCI, Alessandro
Italian painter, Roman school (b. 1590, Firenze, d. 1655/60, Roma). Italian painter. He specialized in imaginary architectural perspectives and harbour views, in which the figures were executed by other artists, most notably Jan Miel and Michelangelo Cerquozzi. His pictures were praised by contemporary and near contemporary writers, including Carlo Malvasia, and during the 17th century were popular with private collectors in both Florence and Rome. However, many of the paintings mentioned in contemporary sources remain untraced. He is first documented in Rome in 1628, when, with Andrea Sacchi and Pietro da Cortona, he worked on the fresco decorations of the Villa Sacchetti (now Chigi), Castelfusano (nr Ostia), to which he contributed personifications of the River Nile and the River Rh?ne (in situ). He became a member of the Accademia di S Luca in Rome in 1634, and after 1635 he was engaged on frescoes (in situ) depicting sacred subjects in S Maria in Vallicella, Rome. From the mid-1630s onward Salucci collaborated with Miel on the imaginary architectural subjects for which he is best known, including the Perspective with Portico
Neroccio
1446-1500 Italian