George Jamesone (or Jameson) (c. 1587-1644) was Scotland's first eminent portrait-painter. He was born in Aberdeen, where his father, Andrew Jamesone, was a stonemason. Jamesone attended the grammar school near his home on Schoolhill and is thought to have gone on to further education at Marischal College. Legend has it that Jamesone once studied under Rubens in Antwerp with Anthony van Dyck. However, this is yet to be proven as his name does not appear to be noted in the Guild registers of the town. However, considering that Rubens was exempt from registering pupils; this does not mean that the painter definitely did not study there. Jamesone certainly did complete an apprenticeship under the supervision of his uncle, John Anderson, who was a popular decorative painter in Edinburgh at the beginning of the seventeenth century. Jamesone finished this training in 1618. He is not recorded as being in Aberdeen again until 1620. If the Scotsman had gone to Antwerp, it would have had to have been between the years of 1618 to 1620.  Related Paintings of Georges Jansoone :. | Gloomy front with lady in green | Nature morte | siesta of Monsignor | Seascape with smack | The Gravensteen in Ghent |
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abstract composition
Russian painter, sculptor, designer and photographer. He was a central exponent of Russian Constructivism, owing much to the pre-Revolutionary work of Malevich and Tatlin, and he was closely involved in the cultural debates and experiments that followed the Revolution of 1917. In 1921 he denounced, on ideological grounds, easel painting and fine art, and he became an exponent of Productivism (see CONSTRUCTIVISM,
MOLA, Pier Francesco
Italian Baroque Era Painter, 1612-1666 Painter and draughtsman, son of (1) Giovanni Battista Mola. His most characteristic works are small, intensely romantic scenes from mythology, the Bible, and from works by the poet Torquato Tasso, set in landscapes inspired by Venetian art. Yet he also received important public commissions for frescoes and altarpieces, and in his mature work he achieved an impressive synthesis of 17th-century Roman gran maniera painting with the stronger chiaroscuro and richer palette of the 16th-century Venetian style. He was a prolific and versatile draughtsman, who drew for pleasure as well as in preparation for commissions; he was also a witty caricaturist, who mocked himself and his friends as much as more typical targets
Frederick Arthur Bridgman
American Painter, 1847-1928 was an American artist, born in Tuskegee, Alabama. An American Southerner, born in Tuskeegee, Alabama, the son of a physician, Bridgman would become one of the United States' most well-known and well-regarded painters and become known as one of the world's most talented "Orientalist" painters. He began as a draughtsman in New York City, for the American Bank Note Company in 1864-1865, and studied art in the same years at the Brooklyn Art Association and at the National Academy of Design; but he went to Paris in 1866 and became a pupil of Jean-Leon Gerôme. Paris then became his headquarters. A trip to Egypt in 1873-1874 resulted in pictures of the East that attracted immediate attention, and his large and important composition, The Funeral Procession of a Mummy on the Nile, in the Paris Salon (1877), bought by James Gordon Bennett, brought him the Cross of the Legion of Honor. Other paintings by him were An American Circus in Normandy, Procession of the Bull Apis (now in the Corcoran Gallery of Art, Washington, D.C.), and a Rumanian Lady (in the Temple collection, Philadelphia, Pennsylvania). In 1867, Bridgman entered the studio of the noted academic painter Jean-Leon Gerôme (1824-1904), where he was deeply influenced by Gerôme's precise draftsmanship, smooth finishes, and concern for Middle-Eastern themes. (Bridgman would even become known as "the American Gerôme.") No mere imitator, however, Bridgman would later adopt a more naturalistic aesthetic, emphasizing bright colors and painterly brushwork. Bridgman made his first trip to North Africa between 1872 and 1874, dividing his time between Algeria and Egypt. There he executed approximately three hundred sketches, which became the source material for several later oil paintings. Additional visits to the region throughout the 1870s and 1880s allowed him to amass a collection of costumes, architectural pieces, and objets d'art, which often appear in his paintings. (Amusingly, John Singer Sargent noted that Bridgman's overstuffed studio, along with the Eiffel Tower, were Paris's must-see attractions.) Though Bridgman maintained a lifelong connection to France, his popularity in America never waned. Indeed, in 1890, the artist had a one-man show of over 400 pictures in New York's 5th Avenue galleries. When the show moved to Chicago's Art Institute, it contained only 300 works - testimony to the high number of sales Bridgman had made.