Dutch 1599-1641 Anthony Van Dyck Locations Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck studies in oil of characterful heads were included in Rubens estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses, where they were appreciated as much for their own sake as for the identities and families of the sitters.  Related Paintings of Anthony Van Dyck :. | right | Susanna and The Elders (mk03) | King Charles I | Samson and Delilah7 | Portrait of a Gentleman |
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Evert Larock
painted Cinder clearance in
Amico Aspertini
(c. 1474 - 1552) is an Italian Renaissance painter whose complex, eccentric, and eclectic style anticipates Mannerism. He is considered among the first of the Bolognese School of painting. He was born in Bologna to a family of painters (Guido Aspertini and Giovanni Antonio Aspertini, his father), and studied under masters such as Lorenzo Costa and Francesco Francia. He is briefly documented in Rome between 1500 - 1503, returning to Bologna and painting in a style influenced by Pinturicchio. In Bologna in 1504, he joined Francia and Costa in painting frescoes for the newly restored Oratory of Santa Cecilia in San Giacomo Maggiore, a work commissioned by Giovanni II Bentivoglio. In 1507-09, he painted a fresco cycle in San Frediano in Lucca. Asperini painted in 1508-1509 the splendid frescoes in the Chapel of the Cross in the Basilica di San Frediano in Lucca. Aspertini was also one of two artists chosen to decorate a triumphal arch for the entry into Bologna of Pope Clement VII and Emperor Charles V in 1529.
John Robert Cozens
British 1752-1797 ). Painter, draughtsman and printmaker, son of (1) Alexander Cozens. He was taught by his father, and an album by John Robert (Aberystwyth, N. Lib. Wales) indicates that he also learnt to sketch landscape directly from nature. The album contains drawings that record sketching tours to Nacton, near Ipswich, Suffolk (Aug 1768); day trips to the outskirts of London: Greenwich and Blackheath (1768, 1771), Epsom (1768) and Hampstead (1770-71); and a trip to Matlock, Derbys (June 1772). The earliest of these sketches are careful pencil drawings, some later reworked in pen, ink and wash, and there is at least one attempt at added colour. Later drawings are freer, either noting an idea for a composition or recording light and shade with rapid washes of ink over pencil. His father worked mainly in monochrome brown or grey washes, and John Robert earliest exhibits (he exhibited at the Society of Artists every year from 1767 to 1771) were also in this medium.