1597 - 1661  Related Paintings of Jacques de letin :. | Charles Distributing Awards to Artists Exhibiting at the Salon of 1824 at the Louvre | L'Aiguillee | Temptation of Eve | Entsatzschlacht von Wien 1683 | Sarkis Pouring Wine |
Related Artists:
Salomon de Caus
b France, 1576; bur Paris, 28 Feb 1626,He was a Huguenot from the Dieppe region (Normandy). Between c. 1595 and 1598 he visited Italy, where he was strongly influenced by the gardens laid out c. 1570 by Bernardo Buontalenti at Pratolino, near Florence, and by their mechanical artifices. De Caus's work also reveals a knowledge of the gardens of the Villa d'Este in Tivoli. From c. 1598 to 1610 he was in Brussels, in the service of the Stadholder of the Netherlands, Albert, Archduke of Austria. There he was the engineer responsible for wells, fountains and the automatic works in the two grottoes (destr. 1768) in the garden of the Stadholder's residence. From 1610 he lived in England, moving in the artistic circle of Henry, Prince of Wales, to whom he taught drawing and for whom he built a picture gallery at Richmond. Together with Constantino de' Servi (1554-1622) he was engineer and supervisor of the waterworks at Richmond Palace. De Caus dedicated his first book, La Perspective (1612), to Prince Henry and included garden designs for the Prince in his second book, Les Raisons des forces movvantes (1615). He worked at several sites in England, including Somerset House in London, where he is thought to have erected a Parnassus, and at Greenwich Palace, Hatfield House and Gorhambury House (Herts) and Wilton House (Wilts). Nothing has survived of his work of this period.
Jean-Baptiste Greuze
French Rococo Era Painter, 1725-1805 French painter and draughtsman. He was named an associate member of the Academie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (tetes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Simeon Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Franeois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850, when 18th-century painting returned to favour, by such critics as Theophile Thore, Arsene Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huitieme siecle. By the end of the century Greuze's work, especially his many variations on the Head of a Girl, fetched record prices, and his Broken Pitcher (Paris, Louvre) was one of the most popular paintings in the Louvre.
Amaldus Clarin Nielsen
(23 May 1838 - 10 December 1932) was a Norwegian painter. He was born in Halse as a son of shipmaster and merchant Niels Clemetsen Nielsen (1795 - 1845) and his wife Andrea Marie Møller (1802 - 1866). He grew up in Mandal in Vest-Agder county, Norway. He lived most of his childhood and adolescence without a father. He received some tuition from a traveling drawing teacher and traveled to Copenhagen to study in 1854