American Colonial Era Painter, 1738-1815
John Singleton Copley (1738[1] - 1815) was an American painter, born presumably in Boston, Massachusetts and a son of Richard and Mary Singleton Copley, both Irish. He is famous for his portrait paintings of important figures in colonial New England, depicting in particular middle-class subjects. His paintings were innovative in their tendency to depict artifacts relating to these individuals' lives. Related Paintings of John Singleton Copley :. | Samuel Adams | Mrs Richard Skinner | Paul Revere | Death of the Earl of Chatham | The Death of Major Peirson,6 January 1781 | Related Artists:
Hans von Maress1837 Elberfeld-1887 Rome
MEULEN, Adam Frans van derFlemish painter (b. 1632, Bruxelles, d. 1690, Paris).
Flemish painter and draughtsman, active also in France. He was the eldest son of the seven children of Pieter van der Meulen and his second wife Marie van Steen Wegen. He went to study with Pieter Snayers, court painter in Brussels, on 18 May 1646, and in 1651 he became a master in the Brussels painters' guild. Probably soon after he married Catherina Huseweel. During the first 15 years of his career, the so-called Brussels period, he painted small-scale genre and history scenes with political and military events in the Baroque style of Sebastiaen Vrancx, Pieter Snayers and Jan Breughel the elder. Typical examples are a Cavalry Battle (1653; Geneva, Mus. A. & Hist.), a Ceremonial Entry into Brussels (1659; Kassel, Gemeldegal.), a General on Campaign (1660; Madrid, Prado) and a Hunting Scene
Pieter Saenredamb. 1597, Assendelft, d. 1665, Haarlem,Painter and draughtsman, son of Jan Saenredam. His paintings of churches and the old town halls in Haarlem, Utrecht and Amsterdam must have been appreciated by contemporary viewers principally as faithful representations of familiar and meaningful monuments. Yet they also reveal his exceptional sensitivity to aesthetic values; his paintings embody the most discriminating considerations of composition, colouring and craftsmanship. His oeuvre is comparatively small, the paintings numbering no more than 60, and each is obviously the product of careful calculation and many weeks of work. Their most striking features, unusual in the genre, are their light, closely valued tonalities and their restrained, restful and delicately balanced compositions. These pictures, always executed on smooth panels, are remarkable for their sense of harmony and, in some instances, serenity. Here, perhaps, lies a trace of filial fidelity to the Mannerist tradition of refinement and elegance, of lines never lacking in precision and grace. But Mannerist figures and the more comparable components of strap- and scrollwork embellishment lack the tension and clarity of Saenredam's designs, which also have a completeness reminiscent of the fugues of Gerrit Sweelinck (1566-?1628).
