French Baroque Era Painter, ca.1600-1645 French painter. He was in Paris by 1626, and his first securely attributed still-life work is dated the following year. He lived in the Saint-Germain-des-Pr?s district, where a number of French still-life painters such as Louise Moillon and Lubin Baugin worked alongside Flemish artists specializing in this genre. In 1631 he was created Peintre et Valet de Chambre du Roi, a post that guaranteed him a degree of financial independence. Linard's works of 1627-44 were mainly of fruit and flowers; with Louise Moillon, however, he was among the first French artists to combine successfully the female form with still-life elements, as, for example, in Woman with Flowers and Woman with Fruit (both Paris, priv. col., see Far?, 1974, pp. 22-3). A painting such as Basket of Flowers (Paris, Louvre) owes something to Flemish prototypes in the anachronistic grouping of flowers that span several months. Patiently recording the flowers as they bloomed, and working on the picture from a series of drawings and sketches, Linard demonstrated his commitment to working from nature. However  Related Paintings of LINARD, Jacques :. | On the Banks of the Oise | The Holy Family with St John | Christ Emmanuel, | The Prussian Tribute | The Angel of the Annunciation |
Related Artists:
Walter Crane
English Golden Age Illustrator, 1845-1915 English painter, illustrator, designer, writer and teacher. He showed artistic inclinations as a boy and was encouraged to draw by his father, the portrait painter and miniaturist Thomas Crane (1808-59). A series of illustrations to Tennyson's The Lady of Shalott (Cambridge, MA, Harvard U., Houghton Lib.) was shown first to Ruskin, who praised the use of colour, and then to the engraver William James Linton, to whom Crane was apprenticed in 1859. From 1859 to 1862 Crane learnt a technique of exact and economical draughtsmanship on woodblocks.
Joseph Highmore
1692-1780 British Joseph Highmore Gallery Joseph Highmore (3 June 1692?C1780), was a British portrait and historical painter. Born in London in 1692, he displayed early a strong ability, particularly for the fine arts, which was discouraged by his family, who rather saw him as a solicitor. However, all his spare time was dominated by his favourite pursuit and, upon the ending of his clerkship at the age of seventeen, he abandoned law and resolved to trust in future to his talents as a painter alone for his chance of fame and fortune. His gamble paid off and he continued to improve his reputation and upon the revival of the Order of the Bath in 1725, he was selected to paint the knights in full costume. The years 1732 to 1734 were spent on a tour of the Netherlands and France and on his return to England, he applied himself to perfecting his talent, which continued for the next 50 years of his life, until his death. Among his best works are biblical "Histories", historical painting being a style which Highmore had picked up on his travels in France. One such biblical painting is Hagar and Ishmael, which was donated to the Foundling Hospital for the purpose of decorating its Court Room (the room where the Court of Governors met). The painting is still part of the Foundling Hospital art collection and can now be seen at the Foundling Museum in London. As an author, he was best known for the rather longwindedly titled Critical Examination of Reubens' two Paintings in the Banqueting House and Observations on Bodwell's Pamphlet against Christianity.
Gabriel Jacques de Saint-Aubin
French Painter, 1724-1780,Draughtsman, etcher and painter, brother of (1) Charles-Germain de Saint-Aubin. He studied with the painters Etienne Jeaurat and Hyacinthe Colin de Vermont, but failed three times to win the Prix de Rome (competition paintings, 1752-4; Paris, Louvre). He broke with the Academie Royale, preferring to support and exhibit at the Academie de St Luc. Although he continued to paint such pictures as a Street Show in Paris (c. 1760; London, N.G.; other examples in Rouen, Mus. B.-A.), he is best known as a draughtsman and etcher. He was a passionate and unconventional observer of the sights of the Paris streets and of the social scene. Dacier saw him as the 'man who drew at all times and in all places', and his contemporary Jean-Baptiste Greuze spoke of his 'priapism of draughtsmanship'. In his many drawings he combined pencil, black and red chalk, bistre, ink and watercolour to create dazzling spontaneous effects. He drew incidents that struck him as he wandered the streets, or entertainments that he attended. He recorded them, noting dates and times, in sketchbooks (e.g. Paris, Louvre and Stockholm, Nmus.) or sometimes in the margins and blank pages of printed books that he was carrying (such as a volume of the poems of Jean-Michel Sedaine, in the Mus. Cond?, Chantilly). These drawings of contemporary incidents include the Fire at the Foire Saint-Germain on the Night of 16-17 May 1762 (ex-David Weill priv. col.) and the Crowning of Voltaire at the Theetre-Franeais in 1778 (Paris, Louvre; see fig.). He went regularly to the Salon of the Academie Royale and to art sales, covering the margins and flyleaves of his sale catalogues and Salon livrets with tiny sketches of works of art and the passing scene. One hundred of these illustrated catalogues were among his effects when he died, and of these about a third survive. These include the livrets for the Salons of 1761, 1769 and 1777 (all Paris, Bib. N.), as well as the catalogues of the sales of Louis-Michel van Loo in 1772 and Charles Natoire in 1778 (both Paris, Bib. N.), and that of Pierre-Jean Mariette in 1775 (Boston, MA, Mus. F.A.). Together with his etchings and large watercolours (e.g. Paris, Louvre) of the Louvre's Salon Carre at the time of the exhibitions of 1753, 1767 and 1769,