Delft 1589-The Hague 1662 Dutch painter, draughtsman and poet. De Bie's account (1661) is the only known source on van de Venne's youth and training. He was born of 'worthy' parents who had fled to Delft from the southern Netherlands to escape war and religious strife. Inspired by his early study of Latin to become an illustrator, he was partly self-taught but also received instruction in painting and illumination from the otherwise unrecorded Leiden goldsmith and painter Simon de Valck. His second teacher, Hieronymus van Diest,   Related Paintings of Adriaen van de Venne :. | Dead horse | The Arrival at Vlissingen of the Elector Palatinate Frederick V (detail) ar | Above Eternel Peace | Detail of The Spinners or The Fable of Arachne | The annunciation |
Related Artists:
Gautier de Coinci
1177-1236 French,Born of noble stock, Gautier became a Benedictine novice at Saint-M??dard de Soissons in 1193 and prior at Vic-sur-Aisne in 1214, returning to Saint-M??dard to be grand prior (1233) until his death. His single work, preserved in nearly 80 manuscripts, is the massive Miracles de Nostre Dame, written at Vic (1214-27) and occupying some 30, 000 lines in two books.
William Maw Egley
English painter , (1826-1916) was a British artist of the Victorian era. The son of the miniaturist William Egley, he studied under his father. His early works were illustrations of literary subjects typical of the period, such as Prospero and Miranda from The Tempest. These were similar to the work of The Clique. William Powell Frith, one of The Clique, hired Egley to add backgrounds to his own work. Egley soon developed a style influenced by Frith, including domestic and childhood subjects. Most of his paintings were humorous or "feelgood" genre scenes of urban and rural life, depicting such subjects as harvest festivals and contemporary fashions. His best known painting, Omnibus Life in London (Tate Gallery) is a comic scene of people squashed together in the busy, cramped public transport of the era. Egley always showed great interest in specifics of costume, to which he paid detailed attention, but his paintings were often criticised for their hard, clumsy style. In the 1860s Egley adopted the fashion for romanticised 18th century subjects.
Vincenzo Carducci
Italian Baroque Era Painter, ca.1578-1638