Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).   Related Paintings of HALS, Frans :. | St Matthew s | Paulus Verschuur | Portrait of a Man sg | Frans Post | Fisher Boy sg |
Related Artists:
Henri de toulouse-lautrec
1864-1901 French painter and printmaker. He is best known for his portrayals of late 19th-century Parisian life, particularly working-class, cabaret, circus, nightclub and brothel scenes. He was admired then as he is today for his unsentimental evocations of personalities and social mores. While he belonged to no theoretical school, he is sometimes classified as Post-Impressionist. His greatest contemporary impact was his series of 30 posters (1891-1901),
David Young Cameron
British master of landscape and architectural views. Glasgow ,1865-1945 is a Scottish painter and etcher. He was trained at the Glasgow and Edinburgh Schools of Art in the 1880s. From 1887-1892 he was a member of the Royal Society of Painter-Etchers. It was during this time that he published a number of sets of etchings (such as "The Clyde Set", "The North Holland Set" and "The North Italian Set"). In general his prints feature areas of great darkness, offset by highlights. Cameron would later become known for his church interiors and barren landscapes of Scotland done in drypoint. The feathery lightness of these drypoints was in visual contrast with the rock and water of the subjects. He became highly sought after by collectors, until the Great Crash in 1929 brought a collapse in prices for prints in general. He exploited his popularity by producing an unprecedented number of states of his prints, and is believed to hold the record at twenty-eight states in one case. Cameron became a Royal Academician in 1920.
GAINSBOROUGH, Thomas
English Rococo Era/Romantic Painter, 1727-1788 English painter, draughtsman and printmaker. He was the contemporary and rival of Joshua Reynolds, who honoured him on 10 December 1788 with a valedictory Discourse (pubd London, 1789), in which he stated: 'If ever this nation should produce genius sufficient to acquire to us the honourable distinction of an English School, the name of Gainsborough will be transmitted to posterity, in the history of Art, among the very first of that rising name.' He went on to consider Gainsborough's portraits, landscapes and fancy pictures within the Old Master tradition, against which, in his view, modern painting had always to match itself. Reynolds was acknowledging a general opinion that Gainsborough was one of the most significant painters of their generation. Less ambitious than Reynolds in his portraits, he nevertheless painted with elegance and virtuosity. He founded his landscape manner largely on the study of northern European artists and developed a very beautiful and often poignant imagery of the British countryside. By the mid-1760s he was making formal allusions to a wide range of previous art, from Rubens and Watteau to, eventually, Claude and Titian. He was as various in his drawings and was among the first to take up the new printmaking techniques of aquatint and soft-ground etching. Because his friend, the musician and painter William Jackson (1730-1803), claimed that Gainsborough detested reading, there has been a tendency to deny him any literacy. He was, nevertheless, as his surviving letters show, verbally adept, extremely witty and highly cultured. He loved music and performed well. He was a person of rapidly changing moods, humorous, brilliant and witty. At the time of his death he was expanding the range of his art, having lived through one of the more complex and creative phases in the history of British painting. He painted with unmatched skill and bravura; while giving the impression of a kind of holy innocence, he was among the most artistically learned and sophisticated painters of his generation. It has been usual to consider his career in terms of the rivalry with Reynolds that was acknowledged by their contemporaries; while Reynolds maintained an intellectual and academic ideal of art, Gainsborough grounded his imagery on contemporary life, maintaining an aesthetic outlook previously given its most powerful expression by William Hogarth.