(Amersfoort, c. 1601 - Amersfoort, 10 August 1669) was a Dutch painter. Bor was descended from a notable Catholic family. He made a study trip to Rome, where he was one of the founders of the Bentvueghels, taking the nickname Orlando. He returned in 1626 to Amersfoort and joined Jacob van Campen in the decoration of the palace Honselaarsdijk belonging to Frederik Hendrik. In 1656, he became regent of the godshuis "De Armen de Poth" in Amersfoort. Bor's style of painting was rather at odds with that of contemporary painters from Utrecht. He initially painted rather Caravaggisti-like history paintings, but his works fast became marked by a classicism related to that of his townsman van Campen. Through unusual compositions and primitive technique, his paintings depict strange and mysterious subjects.   Related Paintings of Paulus Bor :. | Portrat eines Marineoffiziers | The Musicians | The port of Saint-Tropez | The Plague in an Ancient City | A distant View of Florence (mk25) |
Related Artists:
Juan Bautista de Espinosa
(1590-1641, Madrid) was a Spanish still life painter. More paintings remain of him than biographical data and there is only one known painting remaining. It is only known that he worked in Toledo and Madrid from 1612 to 1626 and, judging by his style, he was trained in Holland. De Espinosa's style is judged to be the transition from Flemish Baroque to Spanish Baroque. Several mural paintings in Spanish churches are also attributed to him; one of these is in Alcaudete.
Jean-Baptiste Camille Corot
(July 17, 1796 - February 22, 1875) was a French landscape painter and printmaker in etching. Corot was the leading painter of the Barbizon school of France in the mid-nineteenth century. He is a pivotal figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism.
Charles Rennie Mackintosh
Scottish Art Nouveau Designer, 1868-1928 Scottish architect, designer and painter. In the pantheon of heroes of the Modern Movement, he has been elevated to a cult figure, such that the importance of his late 19th-century background and training in Glasgow are often overlooked. He studied during a period of great artistic activity in the city that produced the distinctive GLASGOW STYLE. As a follower of A. W. N. Pugin and John Ruskin, he believed in the superiority of Gothic over Classical architecture and by implication that moral integrity in architecture could be achieved only through revealed construction. Although Mackintosh's buildings refrain from overt classicism, they reflect its inherent discipline. His profound originality was evident by 1895, when he began the designs for the Glasgow School of Art. His decorative schemes, particularly the furniture, also formed an essential element in his buildings. During Mackintosh's lifetime his influence was chiefly felt in Austria, in the work of such painters as Gustav Klimt and such architects as Josef Hoffmann and Joseph Maria Olbrich. The revival of interest in his work was initiated by the publication of monographs by Pevsner (1950) and Howarth (1952). The Charles Rennie Mackintosh Society was formed in Glasgow in 1973; it publishes a biannual newsletter, has a reference library and organizes exhibitions.