1685-1766 French Jean Marc Nattier Gallery Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Academie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as cold. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Academie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage). The Tsar offered Nattier work at the Russian court, but the artist declined the offer. He remained in Paris for the rest of his life.  Related Paintings of Jean Marc Nattier :. | Portrait of Charlotte Louise de Rohan as a vestal virgin | Manon Balletti | Portrait of a Lady | Peter I | Madame Louise of France |
Related Artists:
Jan Van Kessel
1626-1679 Dutch Jan Van Kessel Gallery Dutch painter and draughtsman. He was a follower, and probably a pupil, of Jacob van Ruisdael and covered the same range of subjects painted by Ruisdael, with the exception of marine paintings. However, van Kessel is best known for his townscapes and panoramic views, as exemplified by the Sluice and the New City Ramparts of Amsterdam in Winter (Amsterdam, Hist. Mus.) and the Bleaching Grounds near Haarlem (Brussels, Mus. A. Anc.). He imitated the water-mills and village scenes of his friend Meindert Hobbema, as well as the waterfalls of Allaert van Everdingen, the wooded landscapes of Jan Wijnants and the winter scenes of Jan van de Cappelle. Many of van Kessel's 120 surviving pictures, including The Avenue (Stuttgart, Staatsgal.) and the Ford in the Woods (Dresden, Gem?ldegal. Alte Meister), were once attributed to van Ruisdael and these other masters (often with an authentic signature covered by the better-known name). Van Kessel is also frequently confused with other minor artists in van Ruisdael's circle, especially Jan Vermeer van Haarlem the younger, Isaac Koene (1637/40-1713), Jacob Salomonsz. van Ruysdael (1629/30-1681) and Anthonie van Borssom. As a draughtsman, van Kessel emulated van Ruisdael's mature style, working almost exclusively in black chalk and grey wash. The best of his 70 drawings are townscapes, although his studies of trees and depictions of farmsteads are noteworthy. A number of correlations exist between his sketches and paintings. There is no known relationship with the Flemish artists of the same name.
Adrianus Eversen
Dutch, 1818-1897
Francesco Monti
Italian Painter, 1685-1768 Italian painter and draughtsman. He was the son of a tailor who served the Este court in Modena during the 1690s. Monti studied with the foremost painter in Modena, Sigismondo Caula (b 1637), for three years from c. 1700. In 1703 he moved to Bologna and entered the studio of Giovanni Gioseffo dal Sole. Roli (1962) defined the formative influences on Monti's art as dal Sole and Donato Creti on the one hand, and Giuseppe Maria Crespi and Antonio Gionima on the other. Monti evolved a distinctive personal idiom, characterized by graceful figures reminiscent of the style of Parmigianino, but perhaps more directly inspired by the more extravagant late Mannerist idiom of such painters as Bartholomeus Spranger and Josef Heintz I of the court of Rudolf II at Prague. Monti may have known their work through prints by Aegidius Sadeler II, Jan Muller and others. This exotic figure style, with fluent, swaying forms and faces suggestively muted by half-shadow was accompanied by unusual shades of colour that glow richly in darkened settings. Monti's art contributed to a neo-Mannerist strain in 18th-century Emilian painting