French Neoclassical Painter, 1780-1867 was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..  Related Paintings of Jean-Auguste Dominique Ingres :. | Portrait of Prince Ferdinand Philippe | The Violinist Niccol | lady-in-waiting and bondman | Paolo and Francesca, | Angel |
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John Lavery
1856-1941 Sir John Lavery (20 March 1856 ?C 10 January 1941) was an Irish painter best known for his portraits. Belfast-born John Lavery attended the Haldane Academy in Glasgow, Scotland, in the 1870s and the Acad??mie Julian in Paris in the early 1880s. He returned to Glasgow and was associated with the "Glasgow School". In 1888 he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition. This launched his career as a society painter and he moved to London soon after. In London he became friendly with James McNeill Whistler and was clearly influenced by him. Like William Orpen, Lavery was appointed an official artist in the First World War. Ill-health, however, prevented him from travelling to the Western Front. A serious car crash during a Zeppelin bombing raid also kept him from fulfilling this role as war artist. He remained in Britain and mostly painted boats, planes and airships. During the war years he was a close friend of the Asquith family and spent time with them at their Sutton Courtenay Thames-side residence, painting their portraits and idyllic pictures like Summer on the River (Hugh Lane Gallery). After the war he was knighted and in 1921 he was elected to the Royal Academy. During this time, he and his wife both became interested in their Irish heritage and were tangentially involved in both the Irish War of Independence and the Irish Civil War: they gave the use of their London home to the Irish negotiators during the Treaty negotiations. After Michael Collins was killed, Lavery painted Michael Collins, Love of Ireland, now in the Hugh Lane Municipal Gallery. In 1929 John Lavery made substantial donations of his work to both The Ulster Museum and the Hugh Lane Municipal Gallery and in the 1930s he returned to Ireland. He received honorary degrees from the University of Dublin and Queen's University of Belfast. He was also made a free man of both Dublin and Belfast. He died in County Kilkenny, aged 84, from natural causes. He was buried in Putney Vale Cemetery.
Juan de Flandes
Flemish-born Spanish Northern Renaissance Painter, ca.1460-1519 South Netherlandish painter, active in Spain. Nothing is known of his life or work before he went to Spain, where he is first mentioned in a document of 1496 as Juan de Flandes, a painter in the service of Queen Isabella of Castile. Treasury accounts confirm that he held this position until the Queen death in 1504. On arriving in Spain, he must have lived in Burgos, where he certainly met MICHEL SITTOW, another painter in the Queen service, who had been at the Castilian court since 1492.
Adriaen Brouwer
(1605 - January 1638) was a Flemish genre painter active in Flanders and the Dutch Republic in the seventeenth century. At a young age Brouwer, probably born as Adriaen de Brauwer in Oudenaarde, moved perhaps via Antwerp to Haarlem, where he became a student of Frans Hals alongside Adriaen van Ostade. He also was active in stage acting and poetry. He stayed in Haarlem and Amsterdam until 1631, when he moved back to Antwerp in the Spanish Netherlands. There, he became a member of the Guild of St. Luke in 1631-1632, as well as the rhetoricians's chamber De Violieren. Tradition has it that Brouwer himself spent much time in the alehouses of Flanders and Holland. His works are typically detailed and small, and often adopt themes of debauchery, drunkenness and foolishness in order to explore human emotions, expressions and responses to pain, fear and the senses. The Bitter Tonic is an example of the type of work that depicts such responses, in this case the sense of taste. His work was well liked, to the point that forgeries were sold in his own time. Both Rubens and Rembrandt owned a number of his works. Nevertheless, Brouwer appeared in financial trouble throughout his life. He died at the early age of 32 in Antwerp, where he was first buried in a common grave.