French 1594-1665 Nicolas Poussin Galleries The finest collection of Poussin's paintings, in addition to his drawings, is located in the Louvre in Paris. Besides the pictures in the National Gallery and at Dulwich, England possesses several of his most considerable works: The Triumph of Pan is at Basildon House, near to Pangbourne, (Berkshire), and his great allegorical painting of the Arts at Knowsley. The later version of Tancred and Erminia is at the Barber Institute in Birmingham. At Rome, in the Colonna and Valentini Palaces, are notable works by him, and one of the private apartments of Prince Doria is decorated by a great series of landscapes in distemper. Throughout his life he stood aloof from the popular movement of his native school. French art in his day was purely decorative, but in Poussin we find a survival of the impulses of the Renaissance coupled with conscious reference to classic work as the standard of excellence. In general we see his paintings at a great disadvantage: for the color, even of the best preserved, has changed in parts, so that the harmony is disturbed; and the noble construction of his designs can be better seen in engravings than in the original. Among the many who have reproduced his works, Audran, Claudine Stella, Picart and Pesne are the most successful.  Related Paintings of Nicolas Poussin :. | Et in Arcadia Ego | Landscape with a Man Killed by a Snake | The Triumph of Pan | Parnassus | The Finding of Moses |
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William Barak
Australian Aboriginal, ca.1824-1903 was the last traditional ngurungaeta (elder) of the Wurundjeri-willam clan, based around the area of present-day Melbourne, Australia. He became an influential spokesman for Aboriginal social justice and an important informant on Wurundjeri cultural lore. Barak was born in the early 1820s at Brushy Creek near present-day Croydon, in the country of the Wurundjeri people. His mother, Tooterrie, came from the Nourailum bulluk at Murchison, Victoria. His father, Bebejern, was an important member of the Wurundjeri clan. Beruk was said to have been present when John Batman met with the tribal elders to 'purchase' the Melbourne area in 1835. Before he died he described witnessing the signing of the treaty in a ceremony he called a tanderem. Ninggalobin, Poleorong and Billibellary were the leading song makers and principal Wurundjeri leaders in the Melbourne region. European colonisation had caused disruptions to initiation ceremonies. In response these three men gathered at South Yarra in the late 1830s and inducted the young William Barak into Aboriginal lore. This entailed formally presenting Barak with the symbols of manhood: strips of possumskin tied around his biceps; the gombert around his neck; given his ilbi-jerri, a sharp and narrow bone or nose-peg; and his branjep, the apron worn by men to cover their genitals. At the end of the ceremony Barack presented his uncle, Billibellary, a possumskin cloak. Beruk attended the government's Yarra Mission School from 1837 to 1839. When he joined the Native Mounted Police in 1844, he was given the name of William Barak. He was Police Trooper No.19. In early 1863, Barak moved to Coranderrk Station, near Healesville, Victoria with about thirty others. Upon the death of Simon Wonga in 1875, Barak became the Ngurungaeta of the clan. He worked tirelessly for his people and was a successful negotiator on their behalf. He was a highly respected man and leader, with standing amongst the Indigenous people and the European settlers. Figures in possum-skin cloaks, 1898 by William Barak.Barak is now best remembered for his artworks, which show both traditional Indigenous life and encounters with Europeans. Most of Barak's drawings were completed at Coranderrk during the 1880s and 1890s. They are now highly prized and exhibited in leading public galleries in Australia. His work is on permanent display in the National Gallery of Victoria Ian Potter Centre at Federation Square, Melbourne. Ceremony (1895) is housed at the Ballarat Fine Art Gallery. Barak died at Coranderrk in 1903 and is buried at the Coranderrk cemetery.
Jacob van Schuppen
Born in Fontainebleau, France, as the son of the painter-engraver Pieter van Schuppen, he worked in the Netherlands before moving to Vienna. He was taught to paint by his father and his uncle Nicolas de Largilliere. In 1719 he was registered in Luneville, but he moved in the same year to Vienna where he became court painter. In 1725 he was appointed director of the Academy of Fine Arts Vienna, when it was refounded by Emperor Charles VI as the k.k. Hofakademie der Maler, Bildhauer und Baukunst (Imperial and Royal Court Academy of painters, sculptors and architecture).
Nicolaes Pietersz. Berchem
(1 October 1620 - 18 February 1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Pieter de Grebber, Jan Baptist Weenix, Jan Wils and Claes Cornelisz. Moeyaert.According to Houbraken, Carel de Moor told him that Berchem got his name from two words "Berg hem" for "Save him!", an expression used by his fellows in Van Goyen's workshop whenever his father chased him there with the intent to beat him. No trip or Grand Tour by Berchem was documented by Houbraken though he mentioned another story about the "Berg hem!" nickname which came from Berchem's conscription as a sailor; the man in charge of impressment knew him and sent him ashore with the words "Save him!".Today his name is assumed to come from his father's hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, whom he called his cousin, in 1642-5. Works by him are signed both as "CBerghem" and "Berchem".