1834-1903 James Abbott McNeill Whistler Art Locations   Related Paintings of James Abbott McNeil Whistler :. | The Artist in His Studio | Arrangement in Black | Lady Meux | Symphony in Grey and Green | Wapping |
Related Artists:
William Clarke Wontner
floruit 1879-circa 1922
Jacob Ferdinand Voet
(c. 1639 - c. 1689/1700) was a Flemish Baroque portrait painter. According to the Netherlands Institute for Art History (RKD) he was born at Antwerp as the son of the painter Elias Voet.[1] He travelled to Rome in 1679-1680, Milan in 1680, Florence in 1681, Turin in 1682-1684, and returned to Antwerp in 1684. While in Rome he lived with the painter-engraver Cornelis Bloemaert until he was banned for his portraits of women portrayed with unseemly decollet, whereupon they left Rome together. He undertook a journey to Paris in 1686 where he became court painter until he died there.He is registered as a painter of miniature portraits. According to Houbraken, he made his return journey to Antwerp from Turin in the company of Jan van Bunnik, who he had already met in Rome in the company of Cornelis Bloemaert. From Turin they set out for Lyons, where they met Adriaen van der Cabel, Peter van Bloemen, and Gillis Wenix. They set off for Paris in the company of a third painter who was a good painter of "bataljes" or battle scenes. Houbraken reports that this was Jacob, Jan van Bunnik's brother, but had not mentioned him earlier in his Jan van Bunnik biography. The RKD makes no mention of a Jacob van Bunnik.
Ignacio Pinazo
1849-1916 He came from a poor family and in his youth worked as a silversmith, gilder, tile painter and hatter. This experience encouraged an independent spirit unencumbered by academic doctrine. He did, however, attend the Escuela de Bellas Artes in Valencia while working as a hatter, studying colour and composition, life drawing and drawing from the Antique (1868-9). In 1870 he started to devote himself wholly to painting. His early works include several portraits. A series of stays in Italy were important for Pinazo's development. The first of these took place in 1873, when he spent seven months visiting Rome, Naples and Venice and became familiar with the work of Mariano Jos? Bernardo Fortuny y Marsal, whose influence can be seen in Pinazo's small-scale landscapes on panel . Soon, however, his work came to resemble that of the impressionistic Italian painters, the Macchiaioli, as in Pinazo's brightly coloured Wheat-field. His second stay in Italy began in 1877 with an award for his large history painting, Landing of Francis I of France in Valencia