Dutch Baroque Era Painter, 1621-1649  Related Paintings of Ostade, Isaack Jansz. van :. | Barn Interior | A Woman Selling Fruit by a Cottage | Winter View | A Winter Scene with an Inn | Rest by a Cottage |
Related Artists:
Georges Clairin
French Painter, 1843-1919 .French painter. In 1861 he entered the Ecole des Beaux-Arts in Paris, where he studied with Fran?ois Picot and Isidore Pils. He sent the first of many contributions to the Salon in 1866, an Episode of a Conscript of 1813 . By 1868 he had joined the painter Henri Regnault in a visit to Spain, where he was evidently impressed by Moorish architecture and influenced by the Spanish Orientalist painter Mariano Fortuny y Marsal; Clairin's Volunteers of Liberty: Episode from the Spanish Revolution was exhibited at the Salon of 1869
VASARI, Giorgio
Italian Mannerist Writer and Painter, 1511-1574 Italian painter, architect, and writer. Though he was a prolific painter in the Mannerist style, he is more highly regarded as an architect (he designed the Uffizi Palace, now the Uffizi Gallery), but even his architecture is overshadowed by his writings. His Lives of the Most Eminent Architects, Painters, and Sculptors (1550) offers biographies of early to late Renaissance artists. His style is eminently readable and his material is well researched, though when facts were scarce he did not hesitate to fill in the gaps. In his view, Giotto had revived the art of true representation after its decline in the early Middle Ages, and succeeding artists had brought that art progressively closer to the perfection achieved by Michelangelo.
HELST, Bartholomeus van der
Dutch Baroque Era Painter, 1613-1670 Dutch painter. He was the son of a Haarlem inn-keeper and presumably undertook part or all of his training in Amsterdam. His earliest works suggest that the painter Nicolaes Eliasz. Pickenoy was his master. Although van der Helst had probably already established himself as an independent master by the time he married Anna du Pire in Amsterdam in 1636, his earliest known work, a portrait of The Regents of the Walloon Orphanage, Amsterdam (Amsterdam, Maison Descartes), dates from 1637. Stylistically it is close to the work of Pickenoy. His portrait of a Protestant Minister of 1638 (Rotterdam, Boymans-van Beuningen) reveals the influence of Rembrandt. The young artist must have risen rapidly to fame in Amsterdam, for as early as 1639 he received the prestigious commission for a large painting for the Kloveniersdoelen (Arquebusiers' or Musketeers' Hall): The Civic Guard Company of Capt. Roelof Bicker and Lt Jan Michielsz. Blaeuw (Amsterdam, Rijksmus.), which formed part of the same series as Rembrandt's 'Night Watch' (Amsterdam, Rijksmus.). Van der Helst may not have completed this commission until 1642 or 1643. The ingenious arrangement of the figures in a broad composition shows the artist's special talent for composing large groups. Pickenoy's influence is less noticeable here than in the portrait of 1637; the self-assured poses of the individual figures were to become a characteristic feature of van der Helst's work. The successful execution of this portrait established van der Helst's reputation: from 1642, when he began to receive an increasing number of commissions for individual portraits, until 1670 he was the leading portrait painter of the ruling class in Amsterdam. From 1642 his technique in portrait painting gradually became more fluent and the rendering of costume materials more detailed. Some typical portraits of his earlier period are those of Andries Bicker (Amsterdam, Rijksmus.), his wife Catharina Gansneb Tengnagel (Dresden, Gem?ldegal. Alte Meister) and their son Gerard Bicker (Amsterdam, Rijksmus.), all of 1642, and the Portrait of a Young Girl (1645; London, N.G.). In 1648 van der Helst painted a second civic guard portrait, The Celebration of the Peace of M?nster at the Crossbowmen's Headquarters, Amsterdam (Amsterdam, Rijksmus.), a superbly composed and well painted portrait that, until the late 19th century, was considered one of the masterpieces of the Golden Age but later lost popularity because of its smooth and modish execution. It can nevertheless still be regarded as one of the most important group portraits of the 17th century.