Dutch Impressionist Painter, 1819-1891 was a Dutch painter and printmaker regarded as a forerunner of Impressionism who influenced Claude Monet. Jongkind was born in the town of Lattrop in the Overijssel province of the Netherlands near the border with Germany. Trained at the art academy in The Hague, in 1846 he moved to the Montmartre quarter of Paris, France where he studied under Eugene Isabey and Francois-Edouard Picot. Two years later, the Paris Salon accepted his work for its exhibition, and he received acclaim from critic Charles Baudelaire and later on from Emile Zola. Jongkind was to experience little success, however, and he suffered bouts of depression complicated by alcoholism. Jongkind returned to live in Rotterdam in 1855, and remained there until 1860. Back in Paris, in 1861 he rented a studio on the rue de Chevreuse in Montparnasse where some of his paintings began to show glimpses of the Impressionist style to come. In 1862 he befriended the young Claude Monet who later referred to Jongkind as the "master." The following year Jongkind exhibited at the first Salon des Refus's. Despite several successes, in another of his down periods the Impressionist group did not accept his work for their first exhibition in 1874.  Related Paintings of Johan Barthold Jongkind :. | Rue Notre-Dame, Paris | River View in France, Possibly near Pontoise | The Port of Rotterdam | Norwegian Ship | Mills near Rotterdam |
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DYCK, Sir Anthony Van
Flemish Baroque Era Painter, 1599-1641 Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck's studies in oil of characterful heads were included in Rubens's estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone;
William Robinson Leigh
(September 23, 1866 - March 11, 1955) is a noted American artist, who specialized in Western scenes. He was born at Maidstone Manor Farm, Berkeley County, West Virginia. He entered the Maryland Institute at age 14, then attended the Royal Academy in Munich. He returned to the United States and worked painting cycloramas and as a magazine illustrator. He married and fathered William Colston Leigh, Sr. (1901-1992). In 1906, Leigh traveled to the American West and maintained a studio in New York City. In 1933, he wrote and illustrated The Western Pony. He also traveled to Africa and published a book Frontiers of Enchantment (1938). Hs adventures were chronicled in a number of popular magazines including Life, the Saturday Evening Post, and Colliers.He is known for painting the Grand Canyon and Yellowstone National Forest, but his primary interest were the Hopi and Navajo Indians
caspar netscher
Caspar (or Gaspar) Netscher (Heidelberg, 1639 ?C Den Haag, January 15, 1684) was a Dutch portrait and genre painter. He was a master in depicting oriental rugs, silk and brocade and introduced an international style to the Northern Netherlands. Little is know of Netscher's early years. According to Arnold Houbraken's 17th century biographical study of Dutch painters he was born in Heidelberg or Prague. His father Johann Netscher probably was a sculptor from Stuttgart who died in Poland when he was two years of age. It is also suggested that Caspar may have been the son of a Rotterdam painter. His mother, fleeing from the dangers of a civil war, carried him to Arnhem. On her way two of her children died. In Arnhem he was adopted by a physician named A. Tullekens. At first he was destined for the profession of his patron, but owing to his great aptitude for painting he was placed under a local artist named Hendrick Coster, and in 1654 became a student of Ter Borch in Deventer, who had family connections to Tullekens. He was Ter Borch's most gifted pupil, probably worked as an assistant as well and he appears several times as a model on Ter Borch's paintings. The Lace-Maker by Caspar Netscher (1662), oil on canvas, 33 x 27 cm. Wallace Collection, LondonIn 1658 he set out for Italy to complete his education there. However, he didn't get farther south than Bordeaux that fall, where he married Margaretha Godijn in 1659. There he toiled hard to earn a livelihood by painting small cabinet pictures which are now highly valued on account of their exquisite finish. After moving to The Hague in 1662, possibly because of the prosecutions of Protestants, he turned his attention to portrait-painting. In this branch of his art was more successful. In 1668 he joined the Schutterij and Cosimo III de' Medici, traveling through the Netherlands bought four paintings. It is likely that Netscher knew the painters Frans van Mieris, Sr. (1635 -1681) and Gerard Dou, but it is certain that he knew the painter Gerrit de Hooch from The Hague as his wife gave her name to Gerrit's new born daughter Margarita in 1676, the event being witnessed by Caspar as well as his wife. He was patronized by William III, and his earnings soon enabled him to gratify his own taste by depicting musical and conversational pieces.