Related Paintings of unknow artist :. | Sheep 192 | Prince Yahya | Classical hunting fox, Equestrian and Beautiful Horses, 177. | Wall painting from the Palace of Amenhote III | Classical hunting fox, Equestrian and Beautiful Horses, 111. |
Related Artists:
Gabriel Metsu
Gabriël Metsu Gabriël Metsu (January 1629 - buried 24 October 1667) was a Dutch painter of history paintings, genre works and portraits. Metsu was the son of the Flemish painter Jacques Metsu (c.1588-1629), who lived most of his days at Leiden, and Jacomijntje Garniers, his third wife, whom he married in 1625. Jacomijntje was the widow of a painter with three children of her own. Two months after Gabriël's birth, his father died. According to Jacobus Houbraken, Metsu was taught by Gerard Dou, though his early works do not lend colour to this assertion. He was influenced by painters of Leiden such as Jan Steen, and later by Frans van Mieris the Elder. Metsu was registered among the first members of the painters' corporation at Leiden; and the books of the guild also tell us that he remained a member in 1649. In Leiden, it was alleged that Metsu left a brothel at six in the morning and took a prostitute to the Academy. In 1650 he ceased to subscribe, and works bearing his name and the date of 1653 support the belief that he had moved. Metsu was trained in Utrecht by Jan Baptist Weenix and Nicolaus Knepfer. In Amsterdam Metsu lived in an alley on Prinsengracht, where he kept chickens. He got into an argument with a neighbor and moved to a house on the canal side, where a daily vegetable market was held. In 1658 he married Isabella de Wolff, whose father was a potter and mother a painter. The Speed Art Museum has a portrait of the couple. Pieter de Grebber, a religious painter from Haarlem, was her uncle. At the onset of the 1660s Metsu turned for inspiration to the art of the "fijnschilders" from his native Leiden. Metsu was responding to the market of Dou's paintings, who sold his paintings all over for exorbitant prices. Metsu may have also influenced Pieter de Hoogh. Around the year 1661, Metsu won the patronage of the Amsterdam cloth merchant Jan J. Hinlopen and painted his family more than once in a fashionable surrounding. The Poultry-Seller, 1662 At least thirteen of paintings show carpets and he probably used the same model. He included several fine examples of minutely depicted floral and cloudband carpets in his works and even a silk Oriental rug, as well as so-called "Lotto" rugs which he for some reason, in contrast to his meticulous rendering of the floral carpets, depicted only in a very sketchy fashion. After Metsu died, his widow left for Enkhuizen, to live with her mother.
Cornelis Bol
Dutch, born circa 1589-1666,Painter, etcher and draughtsman, active in London. He was probably from a family of painters originating in Mechelen who later settled in Antwerp. Bol and his wife were members of the Dutch Church in London in 1636. An etching of an Action between the Dutch and Spanish Fleets (Oxford, Bodleian Lib.) is signed and dated 1639, and a set of etchings by him after Abraham Casembrot ( fl c. 1650-75) includes a view of Lambeth Palace as well as four imaginary Mediterranean seaports. A signed drawing of the Blockhouse at Gravesend is in the British Museum, London. George Vertue saw at Wotton House, Bucks, 'three views of London from the River side Arundel House Somersett house Tower Lond. painted before the fire of London by Cornelius Boll: a good free taste'. They were probably commissioned by John Evelyn, the diarist, around 1660 and descended in the Evelyn family. Their attribution to Bol is confirmed by a signed version of Somerset House (London, Dulwich Pict. Gal.). Although Bol was only moderately accomplished, he was able to reproduce the distinctive light and character of the River Thames and to render the riverside and its landmarks with much topographical detail; his pictures make pleasing visual documents. The handling of the naval craft is identical in a small signed oil panel of an Action between Dutch and Spanish Ships (Amsterdam, Rijksmus.) and in other marine subjects that have appeared in London salerooms. According to Immerzeel, Bol was still working in London at the time of the Great Fire in 1666.
Master of the Saint Lucy Legend
Netherlandish Northern Renaissance Painter, 15th Century