Italian Baroque Era Painter, 1603-1646 Italian painter. He was one of the leading Florentine painters of the first half of the 17th century, famous for the ambiguous sensuality and sfumato effects of his many paintings of female nudes. He first studied with his father, Filippo Furini, nicknamed Pippo Sciamerone and described by Baldinucci as a portrait painter, and he completed his apprenticeship in the studios of Domenico Passignano and of Giovanni Bilivert. Inspired by an admiration for Classical sculpture, which he studied in the Medici collection in Florence, and for Raphael, he travelled to Rome, which he reached as early as 1619 (Gantelli, see 1972 exh. cat.). Here he came into contact with Bartolomeo Manfredi and with Giovanni da San Giovanni. In 1623 he assisted the latter on the frescoes of the Chariot of the Night in the Palazzo Bentivoglio (now Pallavicini-Rospigliosi), commissioned by Cardinal Guido Bentivoglio, and also perhaps on the lower paintings (1623-4) in the apse of the church of SS Quattro Coronati, Rome.  Related Paintings of FURINI, Francesco :. | Artemisia Prepares to Drink the Ashes of her Husband | Poetry and Painting | Judith and Holofernes sdgh | Lot and his Daughters df | St John the Evangelist |
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Gonzales Coques
1615 - 1684 was a Flemish Baroque painter He was the son of Pieter Willemsen Coques, a respectable Flemish citizen, and not, as his name might imply, a Spaniard, was born in Antwerp. In 1626?C28 he entered the studio of Pieter Brueghel the Younger, and subsequently studied with David II Rijckaert.He is primarily known as a painter of small cabinet conversation pieces, a type of elegant informal group portrait that he is credited with inventing. The influence of Anthony van Dyck resulted in his nickname "Little van Dyck". After a period of travel, probably to England where Van Dyck was active, he entered Antwerp's Guild of St. Luke in 1640?C41. He was married twice, first to Ryckaert's daughter Catharina, and then to Catharina Rysheuvels. He was a member of two rhetorician guilds in the city, and twice he was made president of the painters' guild. This small portraits were in great demand with both the bourgeoisie and nobility.Patrons included Frederick William, Elector of Brandenburg, Frederick Henry, Prince of Orange and John of Austria the Younger. One of his canvases in the gallery at the Hague represents a suite of rooms hung with pictures, in which the artist himself may be seen at a table with his wife and two children, surrounded by masterpieces composed and signed by several contemporaries. Partnership in painting was common amongst the small masters of the Antwerp school; and it has been truly said of Coques that he employed Jacob von Arthois for landscapes, Anton Ghering and Willem Schubart von Ehrenberg for architectural backgrounds, Hendrik Steenwijck the younger for interiors, and Pieter Gysels for still life and flowers; but the model upon which Coques formed himself was Van Dyck,
Osbert, Alphonse
French Symbolist Painter, 1857-1939 French painter. He studied at the Ecole des Beaux-Arts and in the studios of Henri Lehmann, Fernand Cormon and L?on Bonnat. His Salon entry in 1880, Portrait of M. O. (untraced), reflected his early attraction to the realist tradition of Spanish 17th-century painting. The impact of Impressionism encouraged him to lighten his palette and paint landscapes en plein air, such as In the Fields of Eragny (1888; Paris, Y. Osbert priv. col.). By the end of the 1880s he had cultivated the friendship of several Symbolist poets and the painter Puvis de Chavannes, which caused him to forsake his naturalistic approach and to adopt the aesthetic idealism of poetic painting. Abandoning subjects drawn from daily life, Osbert aimed to convey inner visions and developed a set of pictorial symbols. Inspired by Puvis, he simplified landscape forms, which served as backgrounds for static, isolated figures dissolved in mysterious light. A pointillist technique, borrowed from Seurat, a friend from Lehmann's studio, dematerialized forms and added luminosity. However, Osbert eschewed the Divisionists' full range of hues in his choice of blues, violets, yellows and silvery green. Osbert's mysticism is seen in his large painting Vision
Maerten van heemskerck
Dutch Northern Renaissance Painter, 1498-1574 Dutch painter, draughtsman and print designer. He was among the second generation of Netherlandish artists to travel to Italy, where he was profoundly affected by the work of contemporary artists in Rome and by the examples of Classical sculpture to be seen in the city (see ROMANISM). On his return to the north, van Heemskerck had a long and successful career. His extensive oeuvre (over 100 paintings) comprises large altarpieces, portraits and smaller works (with both religious and mythological subjects). He also produced a vast number of drawings for prints. He helped spread the influence of Michelangelo and Giulio Romano in the northern Netherlands, through his strong, monumental style, with much emphasis on anatomical detail. He was thus an important figure in the dissemination of late Mannerism in northern Europe