Flemish Northern Renaissance Painter, 1576-1639 Flemish Northern Renaissance Painter, 1576-1639.Painter, draughtsman and etcher, brother of (1) Jacob Savery I. The subject and miniaturist precision of his earliest dated work, Birds by a Pond (1600; St Petersburg, Hermitage), reflect the influence of Jacob, his presumed teacher. The strong Flemish current in Amsterdam c. 1600 is apparent in the Village Edge   Related Paintings of SAVERY, Roelandt :. | The Garden of Eden af | Landscape with Birds dt | Tyrolean Landscape | Crab Fishermen at | Rocky Landscape st |
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Jean Baptiste Wicar
Jean-Baptiste Wicar (22 January 1762, Lille - 27 February 1834, Rome) was a French Neoclassical painter and art collector. The son of a carpenter, Wicar studied drawing at the free school in Lille before further honing his talents in the studio of David. The drawings Wicar created of Tableaux, statues, bas-reliefs et camees de la Galerie de Florence et du palais Pitti (Paintings, statues, bas-reliefs and cameos in the Gallery of Florence and the Pitti Palace) were published in Paris in 4 volumes at the Lacombe publishing house from 1789 to 1807. Wicar headed the commission set up by Napoleon I of France to loot artworks from the Austrian Netherlands to enrich museums in France - an initial convoy left Antwerp on 11 August 1794, notably with paintings by Rubens, for the Louvre. Abbeys and castles were systematically emptied of their contents, furniture and works of art. Wicar was also a member of the commission des sciences et des arts on the Italian campaign, in the entourage of Bonaparte. This commission was charged with seizing artworks that could enrich French national museum collections. He finally permanently settled in Rome in 1800 and became a portraitist of European renown. On his death in Rome, Wicar left the major collection of 1,300 drawings he had accumulated over his lifetime to the Societe des Sciences, de leAgriculture et des Arts de Lille. Mostly from the Italian school, but also in some small measure from the northern schools, it held drawings by artists like Raphael, Albrecht Derer, Lucas Cranach, Nicolas Poussin and Jacques-Louis David.
Wilhelm Leibl
German Realist Painter, 1844-1900 German painter, draughtsman and etcher. In 1861 he abandoned his apprenticeship as a locksmith in order to train as a precision instrument maker, though a month or so later he decided to train as an artist, at first under the Cologne history painter and writer Hermann Becker (1817-85). In 1863 he moved to Munich; he studied there from March 1864, at the Akademie der Bildenden K?nste, initially under Philipp von Foltz and Alexander Straehuber, drawing from plaster casts, and later in Hermann Ansch?tz's painting class. Here, Arthur von Ramberg (1819-75) stimulated Leibl's sensitivity to colour; and Karl Theodor von Piloty encouraged him to observe reality and incorporate its lessons boldly into compositions on historical themes. From the start, however, Leibl tended to think of his pictures in terms of form rather than content. While at the Akademie he first reached a standard of excellence with his draughtmanship, which is notable for its directness and objectivity. As an artist, Leibl's early works were not especially promising. However, as occurred throughout his career, a long period of mediocrity was crowned by an unexpected masterpiece, such as his portrait drawing of Aunt Josepha (c. 1864; Cologne, Wallraf-Richartz-Mus.). This is particularly striking for Leibl's use of the hands to add to the expression of the sitter's character and mood, a device he was to use frequently in later work. In Munich, Leibl supplemented the teaching of the Akademie by studying the works of the Old Masters in the Alte Pinakothek: he paid particular attention to painters of the Baroque period such as van Dyck, Cornelis de Vos and Rubens, and also to other great masters of portraiture such as Frans Hals and Vel?zquez. The presentation of the subject found in such works is reflected in Leibl's portrait of Frau Gedon (1869; Munich, Neue Pin.). When the work was shown at the Grossen Internationale Kunstausstellung in Munich in 1869 it was singled out as the best oil painting of the exhibition by Gustave Courbet and, as a result, Leibl was honoured with an invitation to Paris, where he arrived on 13 November 1869.
Jacopo Chimenti
(30 April 1551 - 30 September 1640) was an Italian late-mannerist painter. Born in Florence as Jacopo Chimenti (Empoli being the birth place of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary in Counter-Maniera (Counter-Mannerism), Santi di Tito, he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like Vasari. He collaborated with Alessandro Tiarini in some projects. Among his pupils were Felice Ficherelli, Giovanni Battista Brazze (Il Bigio), Giovanni Battista Vanni, and Virgilio Zaballi. In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the Baroque period.