Gabriël Metsu (January 1629 - buried 24 October 1667) was a Dutch painter of history paintings, genre works and portraits. Metsu was the son of the Flemish painter Jacques Metsu (c.1588-1629), who lived most of his days at Leiden, and Jacomijntje Garniers, his third wife, whom he married in 1625. Jacomijntje was the widow of a painter with three children of her own. Two months after Gabriël's birth, his father died. According to Jacobus Houbraken, Metsu was taught by Gerard Dou, though his early works do not lend colour to this assertion. He was influenced by painters of Leiden such as Jan Steen, and later by Frans van Mieris the Elder. Metsu was registered among the first members of the painters' corporation at Leiden; and the books of the guild also tell us that he remained a member in 1649. In Leiden, it was alleged that Metsu left a brothel at six in the morning and took a prostitute to the Academy. In 1650 he ceased to subscribe, and works bearing his name and the date of 1653 support the belief that he had moved. Metsu was trained in Utrecht by Jan Baptist Weenix and Nicolaus Knepfer. The alley on Prinsengracht In Amsterdam Metsu lived in an alley on Prinsengracht, where he kept chickens. He got into an argument with a neighbor and moved to a house on the canal side, where a daily vegetable market was held. In 1658 he married Isabella de Wolff, whose father was a potter and mother a painter. The Speed Art Museum has a portrait of the couple. Pieter de Grebber, a religious painter from Haarlem, was her uncle.   Related Paintings of Gabrie Metsu :. | Portrait of Marie-Madeleine Mazade | A Winter Scene with Skaters near a Castle | morgon | Medallion | Bardi Altarpiece (mk36) |
Related Artists:
Lucas van Leyden
1489-1533 Dutch Lucas van Leyden Galleries Lucas van Leyden (Leiden, 1494 ?C August 8, 1533 in Leiden), also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch engraver and painter, born and mainly active in Leiden, who was among the first Dutch exponents of genre painting and is generally regarded as one of the finest engravers in the history of art. He was the pupil of his father, from whose hand no works are known, and of Cornelis Engelbrechtsz, but both of these were painters whereas Lucas himself was principally an engraver. Where he learnt engraving is unknown, but he was highly skilled in that art at a very early age: the earliest known print by him (Mohammed and the Murdered Monk) dates from 1508, when he was perhaps only 14, yet reveals no trace of immaturity in inspiration or technique. Lot and his daughters (ca. 1509)In 1514 he entered the Painters' Guild at Leiden. He seems to have travelled a certain amount, and visits are recorded to Antwerp in 1521, the year of D??rer's Netherlandish journey, and to Middelburg in 1527, when he met Jan Mabuse. An unbroken series of dated engravings makes it possible to follow his career as a print-maker and to date many of his paintings, but no clear pattern of stylistic development emerges. D??rer was the single greatest influence on him, but Lucas was less intellectual in his approach, tending to concentrate on the anecdotal features of the subject and to take delight in caricatures and genre motifs. Carel van Mander characterizes Lucas as a pleasure-loving dilettante, who sometimes worked in bed, but he left a large oeuvre, in spite of his fairly early death, and must have been a prodigious worker. Lucas had a great reputation in his day (Vasari even rated him above D??rer) and is universally regarded as one of the greatest figures in the history of graphic art (he made etchings and woodcuts as well as engravings and was a prolific draughtsman). His status as a painter is less elevated, but he was undoubtedly one of the outstanding Netherlandish painters of his period. He was a pioneer of the Netherlandish genre tradition, as witness his Chess Players (Gemäldegalerie, Berlin) which actually represents a variant game called 'courier' - and his Card Players (National Gallery of Art, Washington), while his celebrated Last Judgement triptych (Lakenhal Museum, Leiden, 1526-27) shows the heights to which he could rise as a religious painter. It eloquently displays his vivid imaginative powers, his marvellous skill as a colourist and his deft and fluid brushwork.
Agnolo Gaddi
Italian Early Renaissance Painter, ca.1345-1396 Son of Taddeo Gaddi. Through both his brother Giovanni and his father, Agnolo was heir to the Giottesque tradition and to a successful family enterprise, which he directed with enormous success up to the turn of the 15th century. He is first mentioned as a painter in 1369, when he assisted his brother Giovanni and Giovanni da Milano in decorations for Urban V (reg 1362-70) in the Vatican. Although he probably did not assume full responsibility for the workshop until his brother Giovanni death, he must have begun accepting his own commissions as early as the 1370s. The nature of his early work and whether it included an altarpiece dated 1375 (Parma, G.N., 435), however, remains a matter of debate. Logical or likely though it may be, the notion that this early activity developed out of his brother Giovanni still little-known art is hypothetical. Whereas the works grouped around Giovanni name are all small panels, Agnolo was an artist who, like his father, excelled in wall painting. Indeed, three monumental fresco cycles (see below), in the Castellani Chapel (painted c. 1384) and the choir (painted c. 1388-93) of Santa Croce, Florence, and the chapel of the Sacra Cintola (doc. 1393-5) in Prato Cathedral, constitute the artist most notable surviving works and offer a basis for reconstructing the content and chronology of his oeuvre.
Giovanni Lorenzo Bernini
Italian Baroque sculptor, painter and architect.1598-1680 was a pre-eminent Baroque sculptor and architect of 17th Century Rome. Bernini was born in Naples to a Mannerist sculptor, Pietro Bernini, originally from Florence. At the age of seven he accompanied his father to Rome, where his father was involved in several high profile projects. There as a boy, his skill was soon noticed by the painter Annibale Carracci and by Pope Paul V, and Bernini gained the patronage exclusively under Cardinal Scipione Borghese, the pope's nephew.