Dutch Baroque Era Painter, 1615-1660 was a Dutch painter of the Dutch Golden Age. Born at Cleves, he was apprenticed by his father to a silk mercer, but having secretly acquired a passion for drawing, was sent to Leeuwarden, where he boarded in the house of Lambert Jacobszon, a Mennonite, better known as an itinerant preacher than as a painter. Here Flinck was joined by Jacob Backer, and the companionship of a youth determined like himself to be an artist only confirmed his passion for painting. Amongst the neighbours of Jacobszon at Leeuwarden were the sons and relations of Rombertus van Uylenburgh, whose daughter Saske married Rembrandt in 1634. Other members of the same family lived at Amsterdam, cultivating the arts either professionally or as amateurs. The pupils of Lambert probably gained some knowledge of Rembrandt by intercourse with the Ulenburgs. Certainly Joachim von Sandrart, who visited Holland in 1637, found Flinck acknowledged as one of Rembrandt's best pupils, and living habitually in the house of the dealer Hendrik Uylenburg at Amsterdam. For many years Flinck laboured on the lines of Rembrandt, following that master's style in all the works which he executed between 1636 and 1648. With aspirations as a history painter, however, he looked to the swelling forms and grand action of Peter Paul Rubens, which led to many commissions for official and diplomatic painting. Flinck's relations with Cleves became in time very important. He was introduced to the court of the Great Elector, Friedrich Wilhelm I of Brandenburg, who married in 1646 Louisa of Orange. He obtained the patronage of John Maurice of Nassau, who was made stadtholder of Cleves in 1649. In 1652 a citizen of Amsterdam, Flinck married in 1656 an heiress, daughter of Ver Hoeven, a director of the Dutch East India Company.  Related Paintings of Govert flinck :. | Schutters van de compagnie van kapitein Joan Huydecoper en luitenant Frans Oetgens van Waveren bij het sluiten van de Vrede van Munster | Portrait of a man surrounded by books | Bust of Rembrandt (mk33) | Angels Announcing the Birth of Christ to the Shepherds | Angels |
Related Artists:
Ljubov Popova
Russian Constructivist Painter and Designer, 1889-1924 Through a synthesis of styles Popova worked towards what she termed painterly architectonics. Exploring firstly Impressionism, by 1913, in Composition with Figures, she was experimenting with the particularly Russian development of Cubo-Futurism: a fusion of two equal influences from France and Italy. Portrait of a Philosopher (Artists's brother, Pavel Sergeyevich Popov), 1915From 1914-1915 her Moscow home became the meeting-place for artists and writers. In 1914-1916 Popova together with other avant-garde artists (Aleksandra Ekster, Nadezhda Udaltsova, Olga Rozanova) contributed to the two Jack of Diamonds exhibitions, then in Petrograd Tramway V and the 0.10, The Store in Moscow. In 1916 she joined the Supremus group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others who at this time worked in Verbovka Village Folk Centre. However there was a tension between those who like Malevich saw art as a spiritual quest and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the early aims of the Revolution working in poster, book design, fabric and theatre design, as well as teaching. Her painting The Violin of 1914 reveals the development from cubism towards the "painterly architectonics" of 1917- 1918. Before joining the Supremus group her paintings, the architectonic series defined her artistic trajectory, quite distinct from that of Malevich, Rozanova, Tatlin and Mondrian, in abstract form. The canvas surface is an energy field of overlapping and intersecting angular planes in a constant state of potential release. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. By 1918 colour is used as the iconic focus; the strong primary colour at the centre drawing the outer shapes together. In 1918 Popova married von Eding, and gave birth to a son, but von Eding died the following year of typhoid fever. She worked on Agitprop designs, and in 1919 she contributed to Tenth State Exhibition: Non Objective Creativity and Suprematism. She painted more advanced abstract works in 1919-21. In 1921 she exhibited in the 5 x 5 Exhibition. From 1921-24 Popova became active in Constructivist projects, sometimes in collaboration with the architect Alexander Vesnin. She was active in stage designs: Vsevolod Meyerhold's production of Fernand Crommeldynck's The Magnanamous Cuckold, 1922; and in teaching: Spatial Force Constructions were used as the basis of an art teaching theory. She designed typography of books, production art and textiles, and contributed designs for dresses to LEF. Popova died in Moscow. A large exhibition of her work opened in Moscow on 21 December 1924.
BEYEREN, Abraham van
Dutch Baroque Era Painter, ca.1620-1690 Dutch painter. He painted seascapes as well as fruit, flower, fish, game and banquet still-lifes. He almost always signed these works with his monogram AVB, but he dated only a few. This, together with the fact that he painted diverse subjects simultaneously and his style changed little, makes it difficult to establish a chronology. He became a master in The Hague in 1640 and was related by marriage to the fish painter Pieter de Putter (before 1600-59). Van Beyeren lived in Delft from 1657 to 1661 and was again in The Hague between 1663 and 1669.
Ernest Quost
French , 1844-1931