Flemish Painter, 1684-1745 was a French subject and portrait painter. He was born in Aix-en-Provence, and was instructed in art by his father Louis-Abraham van Loo, son of Jacob van Loo. Having at an early age executed several pictures for the decoration of the church and public buildings at Aix, he was employed on similar work at Toulon, which he was obliged to leave during the siege of 1707. He was patronized by the prince of Carignan, who sent him to Rome, where he studied under Benedetto Luti. Here he was much employed on church pictures, and in particular executed a greatly praised Scourging of Christ for St Maria in Monticelli. At Turin he painted Charles Emmanuel II, Duke of Savoy and several members of his court. Then, moving to Paris, where he was elected a member of the Acad??mie Royale de Peinture et de Sculpture, he executed various altar-pieces and restored the works of Francesco Primaticcio at Fontainebleau. In 1737 he went to England, where he attracted attention by his portrait of Colley Cibber and of Owen McSwiny, the theatrical manager; the latter, like many other of van Loo's works, was engraved in mezzotint by John Faber Junior. He also painted Sir Robert Walpole, whose portrait by van Loo in his robes as chancellor of the exchequer is in the National Portrait Gallery, London, and the prince and princess of Wales. He did not, however, practise long in England, for his health failing he retired to Paris in 1742, and afterwards to Aix, where he died on 19 December 1745.   Related Paintings of Jean Baptiste van Loo :. | Portrait of Pierre Carlet de Chamblain de Marivaux | Portrait of Pierre Carlet de Chamblain de Marivaux | Augusta van Saksen Gotha | Portrait of Louis XV of France | Portrait of Augusta of Saxe-Gotha |
Related Artists:
Bierstadt Albert
German-born American Hudson River School Painter, 1830-1902 was a German-American painter best known for his large landscapes of the American West. In obtaining the subject matter for these works, Bierstadt joined several journeys of the Westward Expansion. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the 19th century. Bierstadt was part of the Hudson River School, not an institution but rather an informal group of like-minded painters. The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the D??sseldorf School in D'sseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting. Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career. Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day.
Andrea Appiani
Italian Neoclassical Painter, 1754-1817 was an Italian neoclassical painter. He was born at Milan. He had been intended to follow his father's career in medicine but instead entered the private academy of the painter Carlo Maria Giudici (1723?C1804). He received instruction in drawing, copying mainly from sculpture and prints. He then joined the class of the fresco painter Antonio de' Giorgi, which was held at the Ambrosiana picture gallery in Milan. He also frequented the studio of Martin Knoller, where he deepened his knowledge of painting in oils; and he studied anatomy at the Ospedale Maggiore in Milan with the sculptor Gaetano Monti. His interest in aesthetic issues was stimulated by the classical poet Giuseppe Parini, whom he drew in two fine pencil portraits. In 1776 he entered the Accademia di Belle Arti di Brera to follow the painting courses of Giuliano Traballesi, from whom he received a mastery of the fresco technique. His best pieces are in the church of San Maria presso San Celso and the royal palace at Milan, almost rival those of his master. He was made pensioned artist to the Kingdom of Italy by Napoleon, but lost his allowance after the events of 1814 and fell into poverty. During his stint as court painter he rendered portraits of Napoleon and the chief personages of his regime.
Johan Ericson
painted Parken i Marstrand in 1908