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 :. | Previously unrecorded Portrait miniature | Young Man Among Roses | Portrait of George Clifford Earl of Cumberland | Miniature of d'Alencon | Charter of Emmanuel College, Cambridge |
Related Artists:
BOCCACCINO, Camillo
Italian painter, Cremonese school (b. 1504/5, Cremona, d. 1546, Cremona) Camillo Boccaccino (c. 1504 - 1546) was an Italian painter of the Renaissance period, active mainly in Cremona and regions of Lombardy. He was the son and pupil of the painter Boccaccio Boccaccino. He was known to Gian Paolo Lomazzo and Giorgio Vasari. He painted the four evangelists (1537) in the niches of the cupola of San Sigismondo at Cremona.
Owen, William
English, 1769-1825 English painter. The son of a bookseller, he was educated at the grammar school in Ludlow and was sent to London in 1786 to study under Charles Catton the elder (1728-98), coach painter to George III and founder-member of the Royal Academy. Owen's copy of a work by Reynolds, made soon after his arrival, attracted the latter's attention. He entered the Royal Academy Schools in 1791 and exhibited at the Royal Academy the following year. From then on he exhibited there every year, apart from 1823 and 1825, and was elected ARA in 1804 and RA in 1806. He painted a number of rural scenes but specialized in portrait painting. Although his reputation was eclipsed by that of Thomas Lawrence, he was sought after by many of the eminent figures of the day, producing portraits of the Archbishop of Canterbury, Dr William Howley (1813), and of the politician and essayist John Wilson Croker (exh. 1812; both London, N.P.G.); other of his sitters were William Pitt the younger and John Soane. In 1810 he was appointed portrait painter to the Prince of Wales (later George IV) and in 1813 principal portrait painter to the Prince when the latter became Prince Regent. The Prince Regent does not seem to have sat to him but nonetheless he offered Owen a knighthood, which the painter refused. From c. 1820 Owen's health deteriorated until a disease of the spine confined him to his room and finally rendered him incapable of painting. He died after accidentally taking a bottle of opium that had been wrongly labelled.
Michael Ancher
Danish Painter, 1849-1927 He studied at the Kongelige Akademi for de Sk?nne Kunster, Copenhagen (1871-5), where his teachers Wilhelm Marstrand and Frederik Vermehren encouraged his interest in genre painting. He first visited Skagen in 1874 and settled there in 1880, having found that subject-matter drawn from local scenery was conducive to his artistic temperament. In Will he Manage to Weather the Point? (1880; Copenhagen, Kon. Saml.) several fishermen stand on the shore, evidently watching a boat come in. The firmly handled composition focuses on the group of men (the boat itself is invisible); each figure is an individual portrait that captures a response to the moment. Ancher's skill at grouping large numbers of figures with heroic monumentality compensates for his lacklustre colour sense. A change in his use of colour is noticeable in the works produced after an influential visit to Vienna in 1882; he was deeply impressed by the Dutch Old Masters at the Kunsthistorisches Museum, especially the Vermeers. Their effect on his painting can be seen in the Sick Girl (1883),