1829-1912  Related Paintings of william r clark :. | under fem ar fardades barth omkring i saharas sodra delar mellan chadsjon och timbuktu | den svenske forskningsresande sven hedin fardades 1000 tals mil genom foga kanda trakter i centralasen mellan 1890 och 1930 talen, fyra av hns humdrat | det var med en kamelkaravan som den ovan ur en medeltida persisk bok som anthony fenkinson 1558 forsokte att ta sig fram till det legendomspunna catha | columbus karaktarsstyka och viljekft ar skickligt fangade i detta portratt | den storsta expedition som hittills sants till antarktis var den amerikanska 1946-47 |
Related Artists:
John Sherrin
1819-1896 Pencil and watercolour heightened with bodycolour 12x16in 30.5x40.6cm
Juan Sanchez Cotan
(June 25, 1560 - September 8, 1627) was a Spanish Baroque painter, a pioneer of realism in Spain. His still lifes, also called bodegones were painted in a strikingly austere style, especially when compared to similar works in Netherlands and Italy. Senchez Coten was born in the town of Orgaz, near Toledo, Spain. He was a friend and perhaps pupil of Blas de Prado, an artist famous for his still lifes whose mannerist style with touches of realism, the disciple developed further. Cotan began by painting altar pieces and religious works. For approximately twenty years, he pursued a successful career in Toledo as an artist, patronized by the city's aristocracy, painting religious scenes, portraits and still lifes. These paintings found a receptive audience among the educated intellectuals of Toledo society. Senchez Cotan executed his notable still lifes around the turn of the seventeenth century, before the end of his secular life. An example (seen above) is Quince, Cabbage, Melon and Cucumber (1602, in the San Diego Museum of Art). On August 10, 1603, Juan Sanchez Cotan, then in his forties, closed up his workshop at Toledo to renounce the world and enter the Carthusian monastery Santa Maria de El Paular. He continued his career painting religious works with singular mysticism. In 1612 he was sent to the Granada Charterhouse, he decided to become a monk, and in the following year he entered the Carthusian monastery at Granada as a laybrother. The reasons for this are not clear, though such action was not unusual in Cotan's day.
Israel Silvestre
French Baroque Era Engraver, 1621-1691,called the Younger to distinguish him from his father, was a prolific French draftsman, etcher and print dealer who specialized in topographical views and perspectives of famous buildings. Orphaned at an early age, he was taken in by his uncle in Paris, Israel Henriet, an etcher and printseller, and friend of Callot. Between 1630 and 1650 Silvestre travelled widely in France and Italy, which he visited three times, and later worked up his sketches as etchings, which were sold singly and in series. His work, especially of Venetian subjects published in the 1660s, influenced eighteenth-century painters of vedute such as Luca Carlevaris and Canaletto, who adapted his compositions. In 1661 he inherited the stock of plates of his uncle, the printseller Israel Henriet, among which was a large part of the works of Jacques Callot, and many of those of Stefano della Bella. In 1662 he was appointed dessinateur et graveur du Roi and in 1673 he was appointed drawing-master to Louis, le Grand Dauphin. From 1668 he was granted workshop space in the galleries of the Louvre, where the practice of housing eminent artists and craftsmen was a tradition that was originated under Henri IV. Silvestre's atelier was large: he had at least two pupils who had careers as engravers, Franqois Noblesse and Meunier, and In 1670 Charles Le Brun recommended him for membership in the Acadeemie royale de peinture et de sculpture. In 1675 his son, the artist Louis Silvestre, was born at Sceaux.