Related Paintings of unknow artist :. | Portrait of Elizabeth (Berkeley), Margravine of Anspach | Natura statica | Self-Portrait | Cocks 065 | Portrait of Maria Bonciani |
Related Artists:
Jacob Ferdinand Voet
(c. 1639 - c. 1689/1700) was a Flemish Baroque portrait painter. According to the Netherlands Institute for Art History (RKD) he was born at Antwerp as the son of the painter Elias Voet.[1] He travelled to Rome in 1679-1680, Milan in 1680, Florence in 1681, Turin in 1682-1684, and returned to Antwerp in 1684. While in Rome he lived with the painter-engraver Cornelis Bloemaert until he was banned for his portraits of women portrayed with unseemly decollet, whereupon they left Rome together. He undertook a journey to Paris in 1686 where he became court painter until he died there.He is registered as a painter of miniature portraits. According to Houbraken, he made his return journey to Antwerp from Turin in the company of Jan van Bunnik, who he had already met in Rome in the company of Cornelis Bloemaert. From Turin they set out for Lyons, where they met Adriaen van der Cabel, Peter van Bloemen, and Gillis Wenix. They set off for Paris in the company of a third painter who was a good painter of "bataljes" or battle scenes. Houbraken reports that this was Jacob, Jan van Bunnik's brother, but had not mentioned him earlier in his Jan van Bunnik biography. The RKD makes no mention of a Jacob van Bunnik.
Julius Paulsen
Danish, 1860-1940 Danish painter. He studied at the Kongelige Akademi for de Skenne Kunster, Copenhagen (1879-82), but found the training there uninspired and soon attached himself to more radical artists such as Peder Severin Kreyer and Laurits Regner Tuxen. A turning-point in his career came in 1885 when, with Viggo Johansen, he went to Paris. On the way they visited Amsterdam, where the art of Rembrandt made a great impact on Paulsen; in Paris he showed interest in Courbet and Monet. From 1886 his time was shared between landscape, figure and portrait painting. His first landscape, From the Village of Ry (1886; Copenhagen, Hirschsprungske Saml.), is an early example of his personal blend of Romanticism and Symbolism; it shows a golden sunset colouring the houses and gardens of the small village. His View from the Harbour after Sunset (1891; Copenhagen, Hirschsprungske Saml.) has much in common with Monet, the Copenhagen skyline barely discernible through a deep blue and iridescent atmosphere. A later visit to Paris inspired such sunlit townscapes as Under Pont des Arts in Paris, Midday Sun (1919; Copenhagen, Stat. Mus. Kst), the shimmering, sketchy surface of which is dominated by fresh blues and greens; the painting incorporates a favourite Impressionist motif, the curved filigree of the iron bridge, which both frames the scene and lends it tension.
Johann Jakob Meyer
b Winterthur, 7 Oct 1763; d Aussersihl, Schwyz, 10 April 1830,Swiss painter and engraver. He studied under Johann Rudolf Schellenburg in Winterthur and then, in 1778, with Heinrich Rieter (1751-1818) in Berne, where he was also influenced by the topographical landscapes of Johann Ludwig Aberli. He was adept at executing such sharply detailed engravings of Swiss cities as View of Lucerne (c. 1790; e.g. Lucerne, Zentbib.), which he sold to tourists. In 1802 he published an important series of views of Switzerland, which were widely circulated. His skill as a painter of animals was sometimes combined with his rendering of the landscape, as in View of the Lake of Bienne (c. 1800; Winterthur, Kstmus.). In 1807 he taught drawing in Basle and in 1814 was active in the area around Lake Constance. His paintings are often characterized by warm colours and frequently capture the atmosphere of late afternoon, as in Murg on the Lake of Walen (c. 1820; St Gall, Kstmus.). Many of his landscapes are straightforward depictions of the Swiss countryside, stressing the romantic nature of the scene, as in View of the Area of Bex (1821; Winterthur, Kstmus.). He painted in Zurich in 1827 and was known to have travelled to Munich and Dresden. His works are important visual documents of an image of the pastoral countryside frequently propagated by Swiss artists in accordance with the philosophical ideals of Jean-Jacques Rousseau