Dutch Baroque Era Painter, 1617-1681 Dutch genre and portrait painter. He studied with his father and traveled throughout Europe, showing extraordinary precocity in his early work. In 1648 he attended the congress at Menster and painted portraits of the delegates that he incorporated in his celebrated group, The Peace of Menster (National Gall., London). Soon after, he was invited to Spain, where he worked for Philip IV. On returning to Holland in 1650 he painted a variety of genre scenes, capturing the individuality of each subject and portraying the life and customs of the wealthy burgher class with rare dignity and distinction. The tiny portraits and the interiors that were his specialty are painted with elegance, serenity, and a technique of consummate craftsmanship. Among his most famous pictures are Self-Portrait and The Toilet (The Hague), and The Guitar Lesson (National Gall., London).   Related Paintings of TERBORCH, Gerard :. | The Letter | The Music Lesson r | The Glass of Lemonade fg | Man Offering a Woman Coins | A Woman Spinning at |
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BASCHENIS, Evaristo
Italian Baroque Era Painter, 1617-1677 Evaristo Baschenis (December 7, 1617 ?C March 16, 1677) was an Italian Baroque painter of the 17th century, active mainly around his native city of Bergamo. He was born to a family of artists. He is best known for still lifes, most commonly of musical instruments. This could explain his friendship with a family with notable violin makers from Cremona. Still-life depictiona were uncommon as a thematic among Italian painters prior to the 17th century. Baschenis, along with the more eccentric 16th century painter Milanese Arcimboldo, represents provincial outputs with idiosyncratic tendencies that appear to appeal to the discernment of forms and shapes rather than grand manner themes of religious or mythologic events. For Arcimboldo, the artifice is everything; for Baschenis, the items, man-made musical instruments, have a purpose and a beauty even in their silent geometry. One source for his photographic style of still life could be Caravaggio's early painting of peaches, or alternatively, Dutch paintings. The most faithful imitator of his style is a younger contemporary Bergamese, Bartolomeo Bettera. Baschenis is a contemporary of the Bergamese portrait artist, Carlo Ceresa, and appears to have been influential for the Modenese artist Cristoforo Munari.
anguissola sofonisba
The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century. This new direction is reflected in Lucia, Minerva and Europa Anguissola Playing Chess (1555; Poznan, N. Mus.) in which portraiture merges into a quasi-genre scene, a characteristic derived from Brescian models.
Gerard Hornebout
Flemish Northern Renaissance Painter and Manuscript Illuminator, ca.1465-1541