Flemish Baroque Era Painter, 1599-1641 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's studies in oil of characterful heads were included in Rubens's 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;   Related Paintings of DYCK, Sir Anthony Van :. | Susanna and the Elders dfg | Deposition gh25 | Sir Endymion Porter and the Artist dfh | Christ on the Cross dfg | Cupid and Psyche df |
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Francesco Giuseppe Casanova
(1727-1803) was an Italian painter and a younger brother of Giacomo Casanova. Francesco Casanova Battaglia di cavalleria (oil on canvas, Louvre, Paris)Born in London, he trained in Venice under Francesco Guardi, then was a pupil of Francesco Simonini, a battle painter who took Borgognone as his model. Besides battle-pieces Casanova painted landscapes with figures and cattle, as well as pastoral subjects. He arrived in Paris in 1751, and went to Dresden in the following year, where he remained until 1757, spending his time in copying the finest battle-pieces of the famous Electoral Gallery. On his return to Paris he studied for a time under Charles Parrocel, and was received into the Academy in 1763. He exhibited at the Salon at intervals from that year till 1783, when he again quit France, going to Vienna, where he resided during the remainder of his life. Philip James de Loutherbourg was his pupil for a time.
Lucas Cranach
Kronach 1472-Weimar 1553 German painter and engraver. The son of a painter, he settled in Wittenberg c.1504 and was court painter successively under three electors of Saxony. There he maintained a flourishing workshop and was twice burgomaster. Cranach was a close friend of Martin Luther, whose doctrine he upheld in numerous paintings and woodcuts, and he has been called the painter of the Reformation. He was a rapid and prolific painter, and the work turned out by his studio is uneven in quality. Naïve and fanciful, often awkward in draftsmanship, it has, nonetheless, freshness and originality and a warm, rich palette. His portraits are particularly successful. Among his best-known works are Repose in Egypt (Gemäldgalerie, Staatliche Mus., Berlin-Dahlem); Judgment of Paris (Staatliche Kunsthalle, Karlsruhe); Adam and Eve (Courtauld Inst., London); and Crucifixion (Weimar). The latter contains figures of Luther and Cranach. His many famous protraits include those of Elector John Frederick and Self-Portrait (Uffizi). Cranach was also an accomplished miniaturist. He produced a few copperplates and designs for woodcuts. His son and pupil Lucas Cranach, the Younger,
MORONI, Giovanni Battista
Italian Mannerist Painter, ca.1520-1578 .Italian painter. He was the most significant painter of the 16th-century school of Bergamo and is best known for his portraits, which feature a naturalistic rendering of both faces and costume and an objective approach to character.