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; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses,  Related Paintings of Dyck, Anthony van :. | The Greate Peece (mk25 | Mary Stewart | Marchesa Cattaneo with a Servant | Genoese Noblewoman with her Son | Selbstportrat als Paris |
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Tack Augustus Vincent
A painter of portraits, murals and abstractions. American, 1870-1949 American, 1870-1949, was an American painter of portraits, landscapes and abstractions. He was born in Pittsburgh, Pennsylvania in 1870 and moved with his family to New York in 1883. After graduating from St. Francis Xavier College in New York City in 1890, Tack studied at the Art Students League of New York until 1895. He is believed to have frequented the studio of painter and stained glass designer John La Farge, whose portrait he painted around 1900. He had his first solo exhibition at the Kraushaar Galleries in New York City in 1896. The following year he moved to an artists?? colony in Deerfield, Massachusetts, where he met and later married Agnes Gordon Fuller, daughter of artist George Fuller. Tack maintained a studio in New York from 1894 until the end of his life. He had frequent exhibitions at New York City galleries. From 1900 until the 1920s his work was shown regularly at the Worcester Art Museum, at the Carnegie International exhibitions in Pittsburgh, and at the Pennsylvania Academy of the Fine Arts in Philadelphia. He taught at the Art Students League of New York between 1906 and 1910 and at Yale University from 1910 to 1913. About 1914 to 1915 his work attracted the notice of Duncan Phillips, who became his close friend and chief patron. Phillips and Tack also collaborated on the organization of the Allied War Salon of 1918. Tack died in 1949 in New York City.
Albert de Balleroy
(1828 -1873 ) - Painter
Georges de La Tour
1593-1652 French Georges de La Tour Galleries His early work shows influences from Caravaggio, probably via his Dutch followers, and the genre scenes of cheats??as in The Fortune Teller ??and fighting beggars clearly derive from the Dutch Caravaggisti, and probably also his fellow-Lorrainer, Jacques Bellange. These are believed to date from relatively early in his career. La Tour is best known for the nocturnal light effects which he developed much further than his artistic predecessors had done, and transferred their use in the genre subjects in the paintings of the Dutch Caravaggisti to religious painting in his. Unlike Caravaggio his religious paintings lack dramatic effects. He painted these in a second phase of his style, perhaps beginning in the 1640s, using chiaroscuro, careful geometrical compositions, and very simplified painting of forms. His work moves during his career towards greater simplicity and stillness ?? taking from Caravaggio very different qualities than Jusepe de Ribera and his Tenebrist followers did. He often painted several variations on the same subjects, and his surviving output is relatively small. His son Etienne was his pupil, and distinguishing between their work in versions of La Tour's compositions is difficult. The version of the Education of the Virgin, in the Frick Collection in New York is an example, as the Museum itself admits. Another group of paintings (example left), of great skill but claimed to be different in style to those of de La Tour, have been attributed to an unknown "Hurdy-gurdy Master". All show older male figures (one group in Malibu includes a female), mostly solitary, either beggars or saints. After his death in 1652, La Tour's work was largely forgotten until rediscovered by Hermann Voss, a German scholar, in 1915. In 1935 an exhibition in Paris began the revival in interest among a wider public. In the twentieth century a number of his works were identified once more, and forgers tried to help meet the new demand; many aspects of his œuvre remain controversial among art historians.