Italian Rococo Era Painter, C.1721-1780 Italian painter and draughtsman. He was a view painter who worked in Italy and later at the courts of Dresden, Vienna, Munich and Warsaw. The nephew and almost certainly the pupil of Canaletto, outside Italy he signed his works de Canaletto and hence became known as Canaletto. He painted both topographical and imaginary views in a style independent of his uncle's, distinguished by cold colour and by the austere geometry of architectural masses.   Related Paintings of Bernardo Bellotto :. | Courtyard of the Castle at Kaningstein from the South. | Kaunitz Palace and Park in Vienne | Ruins of a Temple | View of Warsaw from Praga | View of Verona and the River Adige from the Ponte Nuovo |
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Ambrosius Bosschaert
(Antwerp, January 18, 1573?CThe Hague, 1621) was a still life painter of the Dutch Golden Age.He started his career in Antwerp, but spend most of it in Middelburg (1593?C1613), where he became dean of the painters' guild. He later worked in Amsterdam (1614), Bergen op Zoom (1615?C1616), Utrecht (1616?C1619), and Breda (1619). He specialised in painting still lifes with flowers. In 1587, Ambrosius Bosschaert moved from Antwerp to Middelburg with his family because of the threat of religious persecution. At the age of twenty-one, he joined the cityes Guild of Saint Luke. Not long after, Bosschaert had established himself as a leading figure in the fashionable floral painting genre.
Joseph Stieler
German Painter, 1781-1858,German painter. In 1798 he studied under Christoph Fesel (1737-1805) in Werzburg and in 1800 with Heinrich Feger in Vienna, where his style was strongly influenced by English portraiture. After he studied in Paris (1807-8) with Fran?ois G?rard the influence of Neo-classicism became apparent in his work. He visited Italy in 1809, 1810 and 1812 to do commissioned portraits for various patrons, among them Prince Eugene de Beauharnais (1809; Munich, Bayer. Nmus.) and Joachim Murat, King of Naples (reg 1808-15). In 1812 he went to Munich where he did work for middle-class clients, the nobility and the royal family of Bavaria (e.g. the portrait of Maximilian I Joseph, 1816; Ellingen, Schloss). In 1820 he was appointed court painter to Ludwig I, King of Bavaria (reg 1825-48), and painted several portraits of him. In 1823 he helped co-found the Kunstverein in Munich. He was one of the most important portrait painters in the Neo-classical style, specializing particularly in studies of women, as seen in the 36 portraits commissioned by Ludwig I for the Schenheitsgalerie (1827-42; Munich, Schloss Nymphenburg). In his portraits for the middle classes and for the court he devised certain peculiarities of form. He painted various members of the royal houses of Austria, Prussia and Sweden, as well as members of the nobility in the duchies of Saxe-Altenberg, Saxe-Coburg and Hesse. His sitters also included some of the most important figures in the political and intellectual life of Germany in the first half of the 19th century. He painted the pendant portraits of Franz Brentano and Antonie Brentano (both 1808; Winkel, Brentanohaus), Johann Wolfgang von Goethe (1828; Munich, Neue Pin.) and Ludwig Tieck (1838; Berlin, Schloss Charlottenburg), the geographer and botanist Alexander von Humboldt (1843; Potsdam, Schloss Charlottenhof) and the musician Ludwig van Beethoven (Bonn, Beethoven-Haus). After 1845 the classical elements in his paintings were sometimes combined with an application of colour typical of plein-air studies. He also painted genre pictures and religious scenes.
SAENREDAM, Pieter Jansz
Dutch Baroque Era Painter, 1597-1665,Painter and draughtsman, son of Jan Saenredam. His paintings of churches and the old town halls in Haarlem, Utrecht and Amsterdam must have been appreciated by contemporary viewers principally as faithful representations of familiar and meaningful monuments. Yet they also reveal his exceptional sensitivity to aesthetic values; his paintings embody the most discriminating considerations of composition, colouring and craftsmanship. His oeuvre is comparatively small, the paintings numbering no more than 60, and each is obviously the product of careful calculation and many weeks of work. Their most striking features, unusual in the genre, are their light, closely valued tonalities and their restrained, restful and delicately balanced compositions. These pictures, always executed on smooth panels, are remarkable for their sense of harmony and, in some instances, serenity. Here, perhaps, lies a trace of filial fidelity to the Mannerist tradition of refinement and elegance, of lines never lacking in precision and grace. But Mannerist figures and the more comparable components of strap- and scrollwork embellishment lack the tension and clarity of Saenredam's designs, which also have a completeness reminiscent of the fugues of Gerrit Sweelinck (1566-?1628).