Related Paintings of unknow artist :. | Book of Hours | Eric I, Duke of Brunswick-Luneburg, with his second wife, Elizabeth of Brandenburg, around 1530 | Saint anthony of padua in prayer | Artist Designing After Nature | Classical hunting fox, Equestrian and Beautiful Horses, 115. |
Related Artists:
eduard hanslick
German music critic, aesthetician and pioneer of musical appreciation. He studied music with Tom??šek and read law at Prague University, writing his earliest essays for the Prague journal Ost und West and for the Wiener Musikzeitung, the Sonntagsblätter and the Wiener Zeitung. From 1849 to 1861 he was a civil servant, chiefly for the ministry of culture, meanwhile writing for the Presse, publishing his important book Vom Musikalisch-Schönen (1854) and lecturing on music appreciation at Vienna University, becoming full professor in 1870. He was also active as a musical emissary and helped promote the standardization of musical pitch. Among his long-standing friends were Brahms and the philosopher Robert Zimmermann. Though his aesthetic enshrined the classical ideals of orderliness and formal perfection, his interests were limited to the music of his own time.
Francois de Troy
French Baroque Era Painter, 1645-1730 was a French painter and engraver who became principal painter to King James II in exile at Saint-Germain-en-Laye and Director of the Academie Royale de peinture et de sculpture. One of a family of artists, Troy was born in Toulouse, the son of Nicolas de Troy (1608 - 15 September 1684), a painter in that city,and was the brother of Jean de Troy (4 April 1638 - 25 June 1691).Troy was taught the basic skills of painting by his father, and perhaps also by the more worldly Antoine Durand. François de Troy is not to be confused with his son, the portrait painter Jean-François de Troy (1679-1752), who studied under him At some time after 1662, Troy went to Paris to study portrait painting under Claude Lefebvre (1633-1675) and Nicolas-Pierre Loir (1624 - C1679]. A. P. F. Robert-Dumesnil states that this occurred when Troy was aged twenty-four. In 1669, Troy married his master Nicolas-Pierre Loir's sister-in-law, Jeanne Cotelle. In 1671, he was approved by the Academie Royale de peinture et de sculpture. In 1674, he was received into the Academy as a history painter, with a reception piece (morceau de reception) entitled Mercure coupant la tete d'Argus ('Mercury cutting off the head of Argus'). Troy's early known works include tapestry designs for Madame de Montespan, one of the many mistresses of Louis XIV of France, and paintings with religious and mythological subjects. In the 1670s, he became friendly with Roger de Piles, who introduced him to Dutch and Flemish painting,
BROUWER, Adriaen
Flemish Baroque Era Painter, ca.1605-1638 Adriaen Brouwer (1605, Oudenaarde - January 1638, Antwerp) was a Flemish genre painter active in Flanders and the Dutch Republic in the seventeenth century. At a young age Brouwer, probably born as Adriaen de Brauwer, moved perhaps via Antwerp to Haarlem, where he became a student of Frans Hals alongside Adriaen van Ostade. He also was active in stage acting and poetry. He stayed in Haarlem and Amsterdam until 1631, when he moved back to Antwerp in the Spanish Netherlands. There, he became a member of the Guild of St. Luke in 1631 ?C 1632, as well as the rhetoricians's chamber De Violieren. Tradition has it that Brouwer himself spent much time in the alehouses of Flanders and Holland. His works are typically detailed and small, and often adopt themes of debauchery, drunkenness and foolishness in order to explore human emotions, expressions and responses to pain, fear and the senses. The Bitter Tonic (illustrated right) is an example of the type of work that depicts such responses, in this case the sense of taste. His work was well liked, to the point that forgeries were sold in his own time. Both Rubens and Rembrandt owned a number of his works. Nevertheless, Brouwer appeared in financial trouble throughout his life. He died at the early age of 32 in Antwerp, where he was first buried in a common grave, but, upon instigation of the members of the guild, was reburied on Feb 1, 1638 in the church of the Carmelites.