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 :. | bernard boutet de monvel | The Rest on The Flight into Egypt | sir thomas gainsborough | alexandre cabanel | Portrait of a Member of the Balbi Family (mk08) |
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E. Phillips Fox
Emanuel Phillips Fox (1865-1915) was an Australian Naturalist painter.
Erastus Salisbury Field
1805-1900 American painter. He studied with Samuel F. B. Morse in New York during the winter of 1824-5. On his return to the rural isolation of Leverett, MA, he painted his earliest known work, the portrait of his grandmother Elizabeth Billings Ashley (Springfield, MA, Mus. F.A.). His career as an itinerant portrait painter began in 1826, most of his commissions coming through a network of family associations in western Massachusetts and Connecticut. The portraits of 1836-40 are considered his best. From 1841 he lived mainly in New York, where he expanded his subject-matter to include landscapes and American history pictures. There he presumably studied photography, for on his return to Massachusetts he advertised himself as a daguerreotypist. His few portraits painted after 1841 are copied from his own photographs and lack the expressive characterization and decorative power of his earlier work. From 1865 to 1885 his paintings were based primarily on biblical and patriotic themes. The Historical Monument of the American Republic (1867-88; Springfield, MA, Mus. F.A.) stands alone in American folk art in size (2.82*3.89 m), scope and imaginative vision. Inspired by plans for a national celebration of the centennial of the USA in 1876, Field painted an architectural fantasy of eight towers linked by railway bridges and trains at the tops, with the history of the USA in low-relief sculpture on the exterior surfaces of the towers. Field added two more towers to the painting in 1888 and thereafter retired.
David Cox
David Cox [English Painter, 1783-1859] English painter. After taking drawing lessons from Joseph Barber (1757/8-1811) in Birmingham, Cox worked briefly as an apprentice to a painter of lockets and snuff-boxes named Fieldler. This was followed about 1800 by a longer period painting scenery for the New Theatre, Birmingham. On the promise of similar employment at Astley's Amphitheatre in Lambeth, Cox travelled to London in 1804, but when this came to nothing he decided to make his name as a watercolour painter. He began exhibiting at the Royal Academy in 1805 and from 1809 until its demise in 1812 with the Associated Artists in Water-Colours, of which he became both member and president in 1810. He was elected an Associate of the Society of Painters in Water-Colours in 1812 and within a month had advanced to full membership.