1778-1830,Flemish painter. He attended evening classes at the Bruges Academie in 1794-5 and then went to Paris, where he entered the studio of the Bruges artist Joseph-Benoet Suvee. In 1801 he began training under Jacques-Louis David and in 1804 won the Prix de Rome for his Death of Phocion (Paris, Ecole N. Sup. B.-A.), in which he faithfully adhered to the principles of David's teaching. Before going to Italy he spent a year in Bruges carrying out portrait commissions, including the Marquis de Chauvelin (1805; Bruges, Groeningemus.). During his time in Rome (1805-12) he copied antique and Renaissance works, taking a particular interest in Raphael, who features in his wash drawing the Master of Urbino Introduced by Bramante to Julius II (1807; Bruges, Groeningemus.), a study for a lost painting. Around 1811 he was among the artists chosen to decorate the Palazzo del Quirinale for Napoleon's visit, although he never executed more than a sketch, Tanaquil Predicting the Future Greatness of Servius Tullius (c. 1811-12; Dijon, Mus. Magnin). Odevaere successfully exhibited in Paris in 1812 and then moved to Ghent, showing works at the Salon there two years later. After the union of the Low Countries in 1815 he became official painter to William I. As a result of this post he executed several works illustrating the history of the Dutch royal family, including the Prince of Orange Wounded at Waterloo (1817) and the Battle of Nieuwpoort (1820; both Brussels, Pal. Nation, on dep. Brussels, Pal. Justice). In 1815 he was commissioned to recover works of art taken from the Low Countries by the French. David's arrival in Brussels in 1816 coincided with the beginning of Odevaere's most ambitious composition, the Departure of the Athenians for Salamis (1816-25; Brussels, Mus. A. Anc.), inspired as much by Jean-Auguste-Dominique Ingres as by David, although the latter frequently advised Odevaere on the painting. From 1825 to 1829 he worked on a series of paintings conveying his support of the philhellenic committees created during the Greek War of Independence.  Related Paintings of Joseph Denis Odevaere :. | Banjor and cup | Between the mountains of the Sierra Nevada in Californie | River Landscape | Stigmatisation of St Francis | Sarah Siddons |
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Ventura Salimbeni
(also later called Bevilacqua; 20 January 1568 - 1613) was an Italian Mannerist painter and printmaker and among the last representatives of a style influenced by the earlier Sienese School of Quattrocento-Renaissance. Salimbeni was born in Siena. He studied painting, together with his half-brother Francesco Vanni, under their father Arcangelo Salimbeni in his native Siena, He possibly spent some time,in Northern Italy and then moved to Rome in 1588 to work, together with others, on the fresco painting of the Vatican Library under pope Sixtus V. During 1590-1591, he got a commission by Cardinal Bonifazio Bevilacqua Aldobrandini for paintings in the Roman Jesuit Church of the Gese and the Basilica di Santa Maria Maggiore. These paintings show the influence of the Mannerist Cavalier D'Arpino and Andrea Lillio. Salimbeni returned to Siena in 1595. Here he became one of the last leaders of the Mannerist school, in this period between Mannerism and Baroque. He was here influenced by Federico Barocci as can be seen in the draperies, highlighted with abrupt changes of light and flickering surfaces, of his painting "Birth of a Virgin" in the San Domenico church in Ferrara (1607-1608). He completed painting cycles (1595-1602) for Sienese churches such as the oratory in the Santa Trinite. He is known for detailed preparatory drawings, most of which are now in the Uffizi in Florence or the Fine Arts Museum of San Francisco. He started around 1600 painting the scenes from the "Life of St. Hyacinth" for the Sienese church of Santo Spirito. These paintings show the awkward perspective of the style of the Sienese Mannerist painter Beccafumi in the backdrop of buildings and landscape. In Siena, Salimbeni completed several painting cycles for the church of Santo Spirito. He continued to create paintings for churches throughout Italy, including Florence. At the Basilica della Santissima Annunziata di Firenze, he frescoed lunettes (1605-1608) illustrating events in the history of the Servite Order. In the Duomo di San Salvatore, he executed a magnificent John the Baptist. At about the same time, around 1600, he got an assignment in Assisi for a fresco of the "Resurrection of Christ" and the "Dying Saint Clare is visited by the pope" in the vault of chapel of San Massimo in the Basilica of Santa Maria degli Angeli. Salimbeni got in 1603 the commission to paint frescoes with scenes from the church's patron saints in the church of Quirico and Giulitta, one of the oldest churches in Siena. As in the church of Santa Trinite, he worked here alongside with the painter Alessandro Casolari. This was a period on non-stop new assignments : three paintings for the church San Lorenzo in San Pietro in Montalcino, the "Donation of the Keys" (1599), the "Disputa of the Eucharist" (1600) and the "Crucifixion" (1604). At the same time he was painting the "Vision of Gregory the great" and the "Punishment of David" in the Basilica of San Pietro in Perugia. The papal legate, cardinal Bonifazio Bevilacqua (1571-1627), who had commissioned these paintings, was so pleased that he invested Ventura Salimbeni with the Order of the Golden Spur, a very selective papal order. He was even authorized from now on to name himself Cavalieri Bevilacqua. He painted the canvas of the Ascension of the Virgin (1607) for San Frediano in Pisa. In 1612 he painted the "Life of Saint Galganus" for the Chiesa del Santuccio in Siena with the hermit saint set in a wooded landscape. His last work of art was the oil painting the "Marriage of the Virgin" for the Seminario diocesano in Foligno in 1613.
Bingham, George Caleb
American Realist Painter, 1811-1879. American painter. Raised in rural Franklin County, MO, Bingham experienced from an early age the scenes on the major western rivers, the Missouri and the Mississippi, that inspired his development as a major genre painter. During his apprenticeship to a cabinetmaker, he met the itinerant portrait painter Chester Harding, who turned Bingham's attention to art. Teaching himself to draw and compose from art instruction books and engravings, the only resources available in the frontier territories, Bingham began painting portraits as early as 1834.
HALL, Peter Adolf
1739-1793 Swedish painter and collector. In 1753 he attended Uppsala Universitet to study medicine and natural history. In 1755 he went on a study trip abroad, led by his drawing-master Lars Brisman. While in Germany (1756-9) he studied miniature painting with Eichhardt in Berlin and with Karl Friedrich Wilhelm Richard (1725-70) in Hamburg. After this trip, he decided to become a professional portrait painter, and in 1759 he enrolled at the Kungliga Akademi for de Fria Konsterna in Stockholm, studying drawing with the French sculptor Pierre-Hubert Larchaveque (1721-78) and painting with Gustaf Lundberg. He attracted the attention of C. F. Adelcrantz, who in 1766 gained for him a commission for the pastel portrait of Princes Karl and Fredrik Adolf. In that year he also executed a miniature portrait of Crown Prince Gustav on the occasion of his engagement to Princess Sophia Magdalena of Denmark. Also in 1766 he received a royal travel grant to study in Paris, where he developed a completely new technique of miniature painting using sweeping brushwork and a clear and fresh range of colour that allowed for lively characterization. He made exquisite detailed studies of the backgrounds of his paintings, as well as his sitters costumes and their attributes and accessories. His new technique involved applying gouache to the ivory in a manner that allowed the ivory to show through, a method that was particularly successful in depicting drapery. The smooth surface of the ivory also allowed freer brushwork associated with full-scale portraits.