1744-1805 French Jean Louis Voille   Related Paintings of Jean Louis Voille :. | A Madwoman and Compulsive Gambler | Portrait of Grand Duchess Marie Fyodorovna | Kinderbildnis Alexander Pawlowitsch mit einer Rassel | The Horse Race | Portrait of Evdokiya Nikolayevna Chesmenskaya |
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Massimo Stanzione
(also called Stanzioni; c. 1586 - c. 1656) was an Italian Baroque painter, mainly active in Naples. Massimo Stanzione was an Italian Baroque painter. Born in Naples in 1586, Massimo was greatly influenced by Michelangelo Merisi da Caravaggio, but what earned him the nickname of The Neapolitan Guido Reni was his sophisticated and graceful style. The thing that distinguished Massimo art from Carravaggism was that he combined Caravaggio dramatically lit and brutally realistic style with the classical and lyrical manner of Bolognesi painters. Though his preliminary training is uncertain, it is thought that he studied with Fabrizio Santafede; however, most of the influence he received was from Caravaggio. Art historians believe that Stanzione developed his career as an artist in Rome. It is thought that he bagan his career as a portraitist. Some of his most famous works include Portrait of a Woman in Popular Costume, and Portrait of Jerome Banks. Between 1617 and 1630, it is believed that he traveled between the papal city and his hometown of Naples exploring different styles of art. Also influenced by Caravaggio were Artemisia Gentileschi, Simon Vouet, and Carlo Saraceni. During Stanzione career a movement that changed the style of art was formed. Stanzione was a part of this movement. This movement transformed the dark, contrasted Caravaggio-styled art into Bolognese colorism and soft art.
Johannes Cornelisz Verspronck
(between 1600 and 1603, Haarlem - buried June 30, 1662, Haarlem) was a gifted Dutch Golden Age portraitist. He was the son of the painter Cornelis Engelsz from Gouda, who taught him to paint portraits. In 1632 he became a member of the Haarlem Guild of St. Luke and started a successful career as a portraitist of mostly Catholic sitters in Haarlem. He may have been a Frans Hals pupil, and was strongly influenced by him, especially in his natural expressions and relaxed poses. He is best known for his exactness in painting details such as jewelry and lace, which made him quite popular with female sitters. Most notably, he won a lucrative commission in 1642 for a group portrait of the regentesses of the St. Elisabeth Gasthuis, at the time the wealthiest charity institution in Haarlem. This was won at the expense of Frans Hals himself, who had painted the regents of the St. Elisabeth Gasthuis in 1641 and fully expected to win the commission for the women.
ANTONIAZZO ROMANO
[Italian Early Renaissance Painter, 1430-ca.1510 Antoniazzo was born in the Colonna quarter of Rome. He was influenced at first by the decorative manner of Benozzo Gozzoli and Beato Angelico, as well as by the local painters of Lazio. His first recorded work is from 1461, a replica (untraced) of the miraculous Virgin and Child of St. Luke in the Basilica of Santa Maria Maggiore of Rome, for the seignior of Pesaro, Alessandro Sforza. From 1464 he worked for the papal court, producing at first a triptych of the Virgin and Child with Saints in Rieti. In 1467 he completed the decoration of the funerary chapel of Cardinal Bessarion in the church of Santi Apostoli of Rome, not far from his birthplace. In the centre of the decoration was an icon of the Virgin, now in the Chapel of St Anthony, a copy of the Byzantine icon in the Santa Maria in Cosmedin, the church of the Greeks in Rome. This icon in the Santi Apostoli is one of the most remarkable examples of Antoniazzo's considerable production of Virgins, generally taken from Byzantine models: he was indeed a much sought-after copier of icons. Later he worked to a series of frescoes in the Monastery of Tor de' Specchi in Rome, featuring stories of the life of S. Francesca Romana, and to the decoration of the public rooms of the Palazzo Venezia. In the 1470s Antoniazzo worked to the decoration of the Vatican Palace with artists like Perugino, Melozzo da Forl?? and Ghirlandaio. Through their influence his figures acquired gentler expressions and their garments were ornamented with decorative patterns, though always retaining several Medieval features. Together with Melozzo he worked to frescoes in Santa Maria sopra Minerva, and subsequently painted for that church a famous Annunciation (1482). The painting shows the Dominican Juan de Torquemada (cardinal) (d. 1468) presenting poor girls dowered by the guild of the Annunciation that he founded to the Virgin Mary. In the years between 1475 and 1480 Antoniazzo's production of altarpieces and panels with images of the Virgin increased as a result of the encouragement of the cult of the Virgin by Pope Sixtus IV. His later works show an increasing mannerism in their features, which were later imitated by several painters, whose works had been often attributed to the master. Antoniazzo was one of the three founders of the Compagnia di San Luca, the guild of painters and illuminators in Rome, and signed the statutes in 1478.