Flemish painter (b. 1564, Antwerpen, d. 1634/35, Antwerpen). also known as Josse de Momper, is one of the most important Flemish landscape painters between Pieter Brueghel the Elder and Peter Paul Rubens. Brueghel's influence is clearly evident in this many of de Momper's paintings. Born in 1564 in Antwerp, Joos de Momper was first apprenticed to his father. In the 1580s, he travelled to Italy to study art. De Momper primarily painted landscapes, the genre for which he was well-regarded during his lifetime. He painted both fantasy landscapes, viewed from a high vantage point and employing a conventional Mannerist color transition of brown in the foreground to green and finally blue in the background, and more realistic landscapes with a lower viewpoint and more natural colors. His wide panoramas also feature groups of figures.   Related Paintings of MOMPER, Joos de :. | Landscape | Helicon or Minerva's Visit to the Muses sg | Rocky Landscape with Monks sg | Landscape with the Temptation of Christ wg | Flemish Market and Washing Place sg |
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George Morland
English genre, animal, and landscape painter, 1763-1804 was an English painter of animals and rustic scenes. Morland was born in London on 26 June 1763. His mother was a Frenchwoman, who possessed a small independent property of her own. His grandfather, George H. Morland, was a subject painter. Henry Robert Morland (c. 1719 ?C 1797), father of George, was also an artist and engraver, and picture restorer, at one time a rich man, but later in reduced circumstances. His pictures of Jaundry-maids, reproduced in mezzotint and representing ladies of some importance, were very popular in their time. At a very early age Morland produced sketches of remarkable promise, exhibiting some at the Royal Academy in 1773, when he was but ten years old, and continuing to exhibit at the Free Society of Artists in 1775 and 1776, and at the Society of Artists in 1777, and then sending again to the Royal Academy in 1778, 1779 and 1780. His very earliest work, however, was produced even before that tender age, as his father kept a drawing which the boy had executed when he was but four years old, representing a coach and horses and two footmen. He was a student at the Royal Academy in early youth, but only for a very short time. From the age of fourteen he was apprenticed to his father for seven years, and by means of his talent appears to have kept the family together. He had opportunities at this time of seeing some of the greatest artists of the day, and works by old masters, but even then a strange repugnance for educated society showed itself, and no persuasion
Columbano Bordalo Pinheiro
(Lisbon, 21 November 1857 - Lisbon, 6 November 1929), who is usually referred to as Columbano, was a Portuguese Realist painter. Usually considered the greatest Portuguese painter of the 19th century, he has been compared to the likes of Wilhelm Leibl and Thomas Eakins. Columbano was the son of a mediocre romantic painter, Manuel Maria Bordalo Pinheiro, and the younger brother of the great caricaturist, Rafael Bordalo Pinheiro. He became the leading painter of his generation and the master of realism in Portuguese painting, specializing in portraiture. He was disciple of his father, of the painter Miguel Ângelo Lupi and the sculptor Simões de Almeida. After attempting twice for a bursar to study abroad finally in 1881 the countess of Edla, second wife of D.Fernando would finance his study in France. There he studied the work of French naturalist, realist and impressionist painters, like Courbet, Manet and Degas without losing his distinctive style which is often gloomy and intimist. He joined the "Grupo do Leão" (The Lion's Group), a usual meeting of artists, writers and intellectuals in a Lisbon downtown restaurant called "Leão de Ouro" (The Golden Lion) in order to discuss aesthetic issues and proclaim Naturalism against the academic art of the time. The group also included Rafael Bordalo Pinheiro, Antenio da Silva Porto, Marques de Oliveira and Jose Malhoa. He painted portraits of some of the greatest names of Portuguese society and culture of his time like Jose Maria de Eça de Queiroz, Teefilo Braga, Raul Brandão and had great psychological accuracy in defining the personality of those depicted. His most famous portrait was that of the poet Antero de Quental in 1889. In this haunting work Columbano seems to have anticipated Antero's suicide. Columbano was a well known Republican, so it wasn't surprising that after the Republic proclamation, in 1910, he was invited to design the flag of the new regime and was nominated director of the National Museum of Contemporary Art, currently the Chiado Museum, in Lisbon, of which he was in charge from 1914 to 1927. The best collection of his paintings is in the Chiado Museum, in Lisbon. He's also represented in some of the finest Portuguese museums, like the National Museum Soares dos Reis, in Porto.
Francois-Andre Vincent
(December 30, 1746 - August 4, 1816) was a French neoclassical painter. He was the son of the miniaturist François-Elie Vincent and studied under Joseph-Marie Vien. He travelled to Rome, where he won the Prix de Rome in 1768. From 1771 to 1775 he studied there at the Academie de France. In 1790 Vincent was appointed master of drawings to Louis XVI of France, and in 1792 he became a professor at the Academie royale de peinture et de sculpture in Paris. In 1800 he married the painter Adelaïde Labille-Guiard. Belisarius by François-Andre Vincent, painted 1776. He was a leader of the neoclassical and historical movement in French art, along with his rival Jacques-Louis David, another pupil of Vien. He was influenced by the art of classical antiquity, by the masters of the Italian High Renaissance, especially Raphael, and among his contemporaries, Jean-Honore Fragonard. He was one of the founder members of the Academie des beaux-arts part of the Institut de France and the successor to the Academie royale in 1795.