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Nicholas Hilliard
1547-1619
British
Nicholas Hilliard Galleries
Nicholas Hilliard (c. 1547?CJanuary 7, 1619) was an English goldsmith and limner best known for his portrait miniatures of members of the courts of Elizabeth I and James I of England. He mostly painted small oval miniatures, but also some larger cabinet miniatures, up to about ten inches tall, and at least the two famous half-length panel portraits of Elizabeth. He enjoyed continuing success as an artist, and continuing financial troubles, for forty-five years, and his paintings still exemplify the visual image of Elizabethan England, very different from that of most of Europe in the late sixteenth century. Technically he was very conservative by European standards, but his paintings are superbly executed and have a freshness and charm that has ensured his continuing reputation as "the central artistic figure of the Elizabethan age, the only English painter whose work reflects, in its delicate microcosm, the world of Shakespeare's earlier plays. Related Paintings of Nicholas Hilliard :. | Portrait of George Clifford The Earl of Cumberland | Leaning younger in rose bush | Portrat des George Clifford, Earl of Cumberland | Miniature of d'Alencon | Self-Portrait,Aged Thirty | Related Artists: Oehme, Ernst FerdinandGerman, 1797-1855 Francisco CamiloSpanish painter (b. 1615, Madrid, d. 1673, Madrid)
was an Italian painter of the Renaissance period. He was born at Bassano del Grappa near Venice, the eldest son of Jacopo Bassano and grandson of Francesco da Ponte the Elder. He studied with his father and worked in the Bassano family workshop along with his three brothers, including Giambattista and Girolamo. He moved to Venice where he ran the branch of the family business, and where he was employed to paint a series of historical pictures in the Doge's Palace, but prone to hypochondria and other ailments, committed suicide by throwing self-defenestration soon after his father's death in 1592. Thomas GirtinEnglish Romantic Painter, 1775-1802
English painter, draughtsman and printmaker. With his rival, J. M. W. Turner, he extended the technical possibilities of watercolour and in doing so demonstrated that watercolours could have the visual impact and emotional range of oils. Although close in style throughout the 1790s, by 1800 Turner and Girtin were beginning to diverge: whereas the former dissolved forms to express his idea of Nature in a state of flux, the latter sought out a landscape's underlying patterns to convey his awe of Nature's permanence as well as its grandeur. Girtin's reduction of landscape to simple and monumental forms
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