French Baroque Era Painter, ca.1594-1632  Related Paintings of VALENTIN DE BOULOGNE :. | St. John and Jesus at the Last Supper | The Fortune Teller kj | St John the Baptist wet | Judith and Holofernes iyi | The Judgment of Solomon at |
Related Artists:
Albert Anker
1831-1910 Swiss Albert Anker Galleries During his studies, Anker produced a series of works with historical and biblical themes, including paintings of Luther and Calvin. Soon after returning to Ins, though, he turned to what would become his signature theme: the everyday life of people in rural communities. His paintings depict his fellow citizens in an unpretentious and plain manner, without idealising country life, but also without the critical examination of social conditions that can be found in the works of contemporaries such as Daumier, Courbet or Millet. Although Anker did paint occasional scenes with a social significance, such as visits by usurers or charlatans to the village, his affirmative and idealistic Christian world-view did not include an inclination to issue any sort of overt challenge. Also prominent in Anker's work are the more than 30 still lifes he created. They depict both rural and urban table settings in the tradition of Chardin, their realist solidity reflecting Anker's vision of a harmonic and stable world order. In addition, Anker created hundreds of commissioned watercolours and drawings, mostly portraits and illustrations, including for an edition of Jeremias Gotthelf's collected works. To provide for a steady income, Anker also decorated more than 500 faience plates for the Alsatian producer Theodore Deck. Anker was quick to reach his artistic objectives and never strayed from his chosen path. His works, though, exude a sense of conciliation and understanding as well as a calm trust in Swiss democracy; they are executed with great skill, providing brilliance to everyday scenes through subtle choices in colouring and lighting. Their parochial motives belie the open-mindedness towards contemporary European art and events that Anker's correspondence reflects.
Emile Levy
Paris 1826 - Paris 1890. French Academic Painter, 1826-1890. Studied under François-Edward Picot and Abel de Pujol.
Giovanni Migliara
Italian 1785-1837 He began his career as a scene painter with Gaspare Galiari (1761-1823) in Milan, working at the Teatro Carcano in 1804 and at La Scala from 1805 to 1809. Owing to illness, after 1810 he turned to small-scale works in watercolour or oil using various supports, including silk and ivory. At this date Milanese painting was dominated by Andrea Appiani and Luigi Sabatelli, both leading Neo-classical artists. However, Migliara remained aloof from this dominant movement and instead drew on medieval and historical subjects with Romantic undertones. His precise, jewel-like technique and choice of subject-matter found favour with aristocratic patrons in Milan. His figures are generally stilted and burdened by their costumes, though the crowd in Sacking of Minister Prina's House (1814; Milan, Gal. A. Mod.) is depicted with unusual fluency. In 1822 Migliara was appointed Professor of Perspective at the Accademia di Belle Arti, Milan, and in 1833 he was nominated painter to the court of Charles-Albert, King of Sardinia (reg 1831-49). More typical of his historical scenes is Entrance to the Castle of Plessis de la Tour (Turin, Gal. Civ. A. Mod.), which was exhibited at the Brera in 1833. He also produced many topographically precise pictures of church interiors in which he combined his training as a scene painter with his knowledge of intaglio techniques.