1618-1680 Dutch (Resident In UK) Sir Peter Lely Art Locations Sir Peter Lely (14 September 1618 - 30 November 1680) was a painter of Dutch origin. He was the most popular portrait artist in England from soon after he arrived in the country in the 1640s to his death. He also owned a major collection of art, especially drawings by other artists. Lely was born Pieter van der Faes to Dutch parents in Soest in Westphalia,[1] where his father was an officer serving in the armed forces of the Elector of Brandenburg. Lely studied painting in Haarlem, where he may have been apprenticed to Pieter de Grebber. He become a master of the Guild of Saint Luke in Haarlem in 1637. He is reputed to have adopted the surname "Lely" (also occasionally spelled Lilly) from a heraldic lily on the gable of the house where his father was born in The Hague. He arrived in London in around 1641. His early English paintings, mainly mythological or religious scenes, or portraits set in a pastoral landscape, show influences from Anthony van Dyck and the Dutch baroque. Lely's portraits were well received, and he succeeded Anthony van Dyck as the most fashionable portrait artist in England. He became a freeman of the Painter-Stainers' Company in 1647 and was portrait artist to Charles I, but his talent ensured that his career was uninterrupted by Charles's execution, and he served Oliver Cromwell, whom he painted "warts and all", and Richard Cromwell. In the years around 1650 the poet Sir Richard Lovelace wrote two poems about Lely ?? Peinture and "See what a clouded majesty...." Two ladies from the Lake family, 1650. Held by the Tate Gallery.[1]After the English Restoration in 1660, Lely was appointed as Charles II's Principal Painter in Ordinary in 1661, with a stipend of £200 per year, as Van Dyck had enjoyed in the previous Stuart reign. Lely became a naturalised British subject in 1662. Demand was high, and Lely and his school were prolific. After Lely painted a sitter's head, Lely's pupils would often complete the portrait in one of a series of numbered poses. As a result Lely is the first English painter who has left "an enormous mass of work." Among his most famous paintings are a series of 10 portraits of ladies from the Royal court, known as the "Windsor Beauties", formerly at Windsor Castle but now at Hampton Court Palace; a similar series for Althorp; a series of 12 of the admirals and captains who fought in the Second Anglo-Dutch War, known as the "Flagmen of Lowestoft", now mostly owned by the National Maritime Museum in Greenwich; and his Susannah and the Elders at Burghley House. His most famous non-portrait work is probably Nymphs by a fountain in Dulwich Picture Gallery. Lely played a significant role in introducing the mezzotint to Britain, as he realized its possibilities for publicising his portraits. He encouraged Dutch mezzotinters to come to Britain to copy his work, laying the foundations for the English mezzotint tradition. Lely was knighted in 1680. He died soon afterwards at his easel in Covent Garden, while painting a portrait of the Duchess of Somerset. He was buried at St Paul's Church, Covent Garden. He collected Old Masters during his life, with examples by Veronese, Titian, Claude Lorrain and Rubens, and a fabulous collection of drawings. His collection was broken up and sold after his death, raising the immense sum of £26,000. Some items in it which had been acquired by Lely from the Commonwealth dispersal of Charles I's art collections, such as the Lely Venus, were re-acquired by the royal collection.  Related Paintings of Sir Peter Lely :. | Portrait of Nell Gwyn. | Duchess of Richmond and Lennox | Portrait of Frances Theresa Stuart, Duchess of Richmond and Lennox | A Boy as a Shepherd | Portrait of Barbara Villiers. |
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Fritz von Uhde
German, 1848-1911 was a German painter of genre and religious subjects. His style lay between Realism and .Uhde was born in Wolkenburg, Saxony. In 1866 he was admitted to the Academy of Fine Arts in Dresden, but later that year he left his studies for military service, and from 1867 to 1877 he was a professor of horsemanship to the regiment of the assembled guard. He moved to Munich in 1877 to attend the Academy of Fine Arts. In Munich he particularly admired the Dutch old masters, and in 1879 he travelled to Paris where his studies of the Dutch painters continued under Mihely Munkecsy's supervision. In 1882 a journey to Holland brought about a change in his style, as he abandoned the dark chiaroscuro he had learned in Munich in favor of a colorism informed by the works of the French Impressionists. His work was often rejected by the official art criticism, and by the public, because his representations of ordinary scenes were considered vulagar or ugly. The critic Otto Julius Bierbaum was more sympathetic; in 1893, he wrote, "As a painter of children, for example, Uhde is extraordinarily distinguished. He does not depict them as sweetly as used to be popular; in other words not as amusing or charming dolls, but with extreme, very strict naturalness." In about 1890, Uhde became a professor at the Academy of Fine Arts in Munich.
Philipp veit
1793 - 1877) was a German Romantic painter.German painter. The stepson, from 1804, of Friedrich von Schlegel, he studied (1808-11) at the Akademie in Dresden under Friedrich Matth?i (1777-1845) and Caspar David Friedrich. He showed talent in drawing but, on moving to Vienna in 1811, had difficulties with painting in oil, and turned to watercolour. Through Schlegel, Veit came to know many of the leading Romantics in Vienna, such as the poet and novelist Joseph von Eichendorff. In 1813-14 Veit took part in the campaign against Napoleon and returned briefly to Berlin. In 1815 he completed a votive picture, the Virgin with Christ and St John, for the church of St James in Heiligenstadt, Vienna (in situ), inspired by the work of Pietro Perugino and Raphael. In 1815 Veit left for Italy where he stayed until 1830. In Rome he joined the circle around Friedrich Overbeck and Peter Cornelius, becoming a leading Nazarene (see NAZARENES). With these artists he took part in providing fresco decorations (1816-17) for the Casa Bartholdy (now the Bibliotheca Hertziana): Veit painted the scene of Joseph and Potiphar's Wife and a decorative lunette allegory, the Seven Years of Plenty (both now Berlin, Staatl. Mussen, N.G.). In 1818 Veit was commissioned to paint the fresco of the Triumph of Religion in the Museo Chiaramonti in the Vatican, one of a series of murals recording the services of Pope Pius VII to science and art.
BASSA, Ferrer
Spanish painter active 1324-1348 His workshop was in Calle Cucurulla, Barcelona, and commissions from a variety of patrons, mostly royal, are documented. In 1324 he was paid for painting two chapels and two crosses for the church at Sitges. Between c. 1333 and c. 1335 he illuminated a book on the Usages of Barcelona and Customs of Catalonia for Alfonso IV of Aragon, and in 1335 he was paid for an altarpiece. Further payments, in 1339 and 1340, were for two altarpieces for the chapel of the Aljaferea Palace (a Moorish palace) in Saragossa. About 1340 he received a commission for an altarpiece of St Hilary for the diocese of Lleida (Sp. Lerida). In 1341 Bassa had begun work on three altarpieces for the Episcopal See at Lleida, commissioned by Ot de Montacada (c. 1290-1341). In 1342 Peter IV (the Ceremonious) of Aragon asked his wife, Maria of Navarre, to send him a Book of Hours illuminated by Ferrer Bassa, and in the same year the artist was also paid for a commission by Queen Constanza of Mallorca. In 1343 and 1344 he was paid for an altarpiece and other works for the chapel of the Aljaferea Palace in Saragossa and for an altarpiece for the chapel of the royal palace at Barcelona. In 1344 Bassa was commissioned to decorate the S Miguel Chapel, then the cell of the abbess in the Pedralbes Monastery, Barcelona, although he only started work in 1346. He was involved in further royal commissions in 1345, including an altarpiece for the chapel of the castle at Perpignan.