French Rococo Era Painter, 1733-1808 French painter, draughtsman, etcher and landscape designer. He was one of the most prolific and engaging landscape painters in 18th-century France. He specialized in architectural scenes in which topographical elements derived from the buildings and monuments of ancient and modern Italy and of France are combined in often fantastic settings or fictitious juxtapositions. The fluid touch and rich impasto employed in his paintings  Related Paintings of ROBERT, Hubert :. | Washerwomen below a Bridge | Imaginary View of the Grande Galerie in the Louvre in Ruins | The Pont du Gard (mk05) | Landscae with Ruins | Imaginary View of the Grande Galerie in the Louvre in Ruins |
Related Artists:
ASPERTINI, Amico
Italian Painter, ca.1474-1552 He was born in Bologna to a family of painters (Guido Aspertini and Giovanni Antonio Aspertini, his father), and studied under masters such as Lorenzo Costa and Francesco Francia. He is briefly documented in Rome between 1500-1503, returning to Bologna and painting in a style influenced by Pinturicchio. In Bologna in 1504, he joined Francia and Costa in painting frescoes for the newly restored Oratory of Santa Cecilia in San Giacomo Maggiore, a work commissioned by Giovanni II Bentivoglio. In 1507-09, he painted a fresco cycle in San Frediano in Lucca. Asperini painted in 1508-1509 the splendid frescoes in the Chapel of the Cross in the Basilica di San Frediano in Lucca. Aspertini was also one of two artists chosen to decorate a triumphal arch for the entry into Bologna of Pope Clement VII and Emperor Charles V in 1529. He died in Bologna. Giorgio Vasari describes Aspertini as having an eccentric personality, who, half-insane, worked so rapidly with both hands that chiaroscuro was split, chiaro in one hand, scuro in the other. He quotes Aspertini as complaining that all other Bolognese colleagues were copying Raphael. Aspertini also painted façade decorations (all lost), and altarpieces, many of which are often eccentric and charged in expression. For example, his Bolognese Pieta appears to occur in an other-worldy electric sky.
Francois de Troy
French Baroque Era Painter, 1645-1730 was a French painter and engraver who became principal painter to King James II in exile at Saint-Germain-en-Laye and Director of the Academie Royale de peinture et de sculpture. One of a family of artists, Troy was born in Toulouse, the son of Nicolas de Troy (1608 - 15 September 1684), a painter in that city,and was the brother of Jean de Troy (4 April 1638 - 25 June 1691).Troy was taught the basic skills of painting by his father, and perhaps also by the more worldly Antoine Durand. François de Troy is not to be confused with his son, the portrait painter Jean-François de Troy (1679-1752), who studied under him At some time after 1662, Troy went to Paris to study portrait painting under Claude Lefebvre (1633-1675) and Nicolas-Pierre Loir (1624 - C1679]. A. P. F. Robert-Dumesnil states that this occurred when Troy was aged twenty-four. In 1669, Troy married his master Nicolas-Pierre Loir's sister-in-law, Jeanne Cotelle. In 1671, he was approved by the Academie Royale de peinture et de sculpture. In 1674, he was received into the Academy as a history painter, with a reception piece (morceau de reception) entitled Mercure coupant la tete d'Argus ('Mercury cutting off the head of Argus'). Troy's early known works include tapestry designs for Madame de Montespan, one of the many mistresses of Louis XIV of France, and paintings with religious and mythological subjects. In the 1670s, he became friendly with Roger de Piles, who introduced him to Dutch and Flemish painting,
Charles Livingston Bull
the premier wildlife artist , American,1874-1932