Thomas Hudson (1701 - 1779) was an English portrait painter in the 18th century. He was born in 1701 in the West Country of the United Kingdom. His exact birthplace is unknown. Hudson studied under Jonathan Richardson in London and against his wishes, married Richardson's daughter at some point before 1725.
Hudson was most prolific between 1740 and 1760 and, from 1745 until 1755 was the most successful London portraitist. He lived at Deep Cross, Twickenham.
Many assistants were employed by Hudson, to help with his paintings. Joshua Reynolds and Joseph Wright were students of Hudson. He retired toward the end of the 1750s. Related Paintings of Thomas Hudson :. | Portrait of James Bradley | Portrait of John Perceval, 2nd Earl of Egmont | Portrait of John Perceval | Portrait of Sir John Willes | Portrait of Susannah Maria Cibber | Related Artists:
Juan Carreno de MirandaEnglish: Juan Carreño de Miranda (March 1614-September 1685) was a Spanish painter of the Baroque period.
Español: Juan Carreño de Miranda (Aviles, 1614 - Madrid, 1685) fue un pintor español del siglo XVII, que destace en la Corte española de Felipe IV, y, sobre todo, Carlos II.
William Bruce Ellis RankenUnited Kingdom (1881- 1941 ) - Watercolours
painted Souvenir of the seventies. Signed with monogram and dated 1923
Pieter Saenredamb. 1597, Assendelft, d. 1665, Haarlem,Painter and draughtsman, son of Jan Saenredam. His paintings of churches and the old town halls in Haarlem, Utrecht and Amsterdam must have been appreciated by contemporary viewers principally as faithful representations of familiar and meaningful monuments. Yet they also reveal his exceptional sensitivity to aesthetic values; his paintings embody the most discriminating considerations of composition, colouring and craftsmanship. His oeuvre is comparatively small, the paintings numbering no more than 60, and each is obviously the product of careful calculation and many weeks of work. Their most striking features, unusual in the genre, are their light, closely valued tonalities and their restrained, restful and delicately balanced compositions. These pictures, always executed on smooth panels, are remarkable for their sense of harmony and, in some instances, serenity. Here, perhaps, lies a trace of filial fidelity to the Mannerist tradition of refinement and elegance, of lines never lacking in precision and grace. But Mannerist figures and the more comparable components of strap- and scrollwork embellishment lack the tension and clarity of Saenredam's designs, which also have a completeness reminiscent of the fugues of Gerrit Sweelinck (1566-?1628).
