17th Century Painters of the Bosporus,was a Flemish-French painter, remembered for his detailed portrayal of life in the Ottoman Empire during the Tulip Era and the rule of Sultan Ahmed III. Van Mour was a native of Valenciennes, a Flemish town that at he time of his birth belonged to the Spanish Netherlands, but since 1678 to France. He studied art in the studio of Jacques-Albert Gerin, and his work attracted the attention of an aristocrat and statesman of the time, Marquis Charles de Ferriol. Van Mour was invited to go to Istanbul when De Ferriol was appointed there as the French Ambassador in 1699. De Ferriol commissioned van Mour to do one hundred portraits of the local people. In 1711 De Ferriol returned to France and van Mour worked for a variety of other diplomats. In the meantime De Ferriol published a series of one hundred engravings (after the paintings) in Recueil de cent estampes representant differentes nations du Levant. The book had a great influence in Western Europe and was published in at least five languages. Painting audiences with the Sultan became van Mour's speciality; he only had to change the setting and a few faces. Van Mour worked with assistants to fulfill all his obligations. In 1725 he was granted the extraordinary title of Peintre Ordinaire du Roy en Levant in recognition of both his and the Levant's importance to the French government. In 1727 the Dutch ambassador Cornelis Calkoen asked Van Mour to record his audience with Sultan Ahmed III on canvas. Van Mour was allowed to enter the palace during these ceremonies accompanying the ambassador and his retinue; therefore, he was familiar with the special protocol that prevailed in the Ottoman court for ambassador's receptions. Calkoen took many paintings of Jean-Baptiste van Mour with him, when he was appointed as ambassador in Dresden for the Dutch Republic. In his will of 1762 the bachelor Calkoen forbade his heirs to sell the paintings, which are now part of the Rijksmuseum collection.  Related Paintings of Jean-Baptiste Van Mour :. | Der Zug des Grobwesirs uberquert den Ameydan | Harem scene with the Sultan | Der Gesandte Cornelis Calkoen begibt sich zur Audienz beim Sultan Ahmed III. | The Mufti of Constantinople | Portrait of Lady Montagu |
Related Artists:
Cano, Alonso
Spanish, 1601-67 Spanish painter, sculptor and architect. He was an artist of rare versatility in 17th-century Spain, although his architectural work was not extensive. While he is also known for his drawings, only about 60 of these are definitely attributable to him, despite the many extant sketches with the name 'Cano' carelessly added by later hands. Unlike most of his Spanish contemporaries, such as Zurbaren or Velezquez, whose artistic styles did not outlive them, Cano's artistic legacy is measured in part by the number of artists who trained in his workshop and went on to become important masters in their own right: the painters Pedro Atanasio Bocanegra, Juan de Sevilla (1643-95) and, more distantly, Jos Risueo, and the sculptors Pedro de Mena and Jos de Mora,
Gregorio Lazzarini
(1657 - 10 November 1730) was an Italian painter, mostly of religious subjects, and those from history and mythology. Born in Venice, he initially trained with the Genovese painter Francesco Rosa, Girolamo Forabosco, and with the studio of Pietro della Vecchia. He joined the painters' guild in Venice in 1687.
Ochtman, Mina Fonda
American, 1862-1924 was the wife of the American painter Leonard Ochtman and a notable American Impressionist in her own right. She was a part of the Cos Cob Art Colony and lived in Greenwich, Connecticut. Their daughter, Dorothy Ochtman Del Mar, was also a painter of note.