Dutch Baroque Era Painter, 1632-1675 Johannes (or Jan) Vermeer is now recognized as one of the great Dutch painters, but while he was alive he could barely make ends meet, and his artistic achievement was almost entirely ignored for 200 years after his death. Little is known about his personal life, other than he died poor and young and left behind a wife and eleven children. Vermeer is admired for his realistic style, his subtle use of color and light and his unusual and inventive brush technique, but fewer than forty of his paintings exist. His most famous works include domestic scenes such as Girl With a Peal Earring (1665) and The Music Lesson (1662-65), and tranquil landscapes such as The Little Street (1657-58) and View of Delft (1659-60). Although his actual birth and death dates are unknown, Vermeer was baptized 31 October 1632 and buried 15 December 1675... During his career he used the names Johannes van der Meer, Johannes Vermeer and Jan Vermeer  Related Paintings of Jan Vermeer :. | stilleben med hummer | mjolkpigan | The Lacemaker | The Allegory of the Faith | sjalvportratt med luta |
Related Artists:
Defendente Ferrari
(c. 1480/1485 - c. 1540) was an Italian painter active in Piedmont. Ferrari was born at Chivasso, near Turin, and worked in the workshop of Giovanni Martino Spanzotti. He met considerable success as a painter of polyptychs and altarpieces, characterized by a highly decorative style inspired by Northern Europe masters.
Friedrich Gauermann
(September 10, 1807 - July 7, 1862), Austrian painter, son of the landscape painter Jacob Gauermann (1773 - 1843), was born at Miesenbach near Gutenstein in Lower Austria. It was the intention of his father that he should devote himself to agriculture, but the example of an elder brother, who, however, died early, fostered his inclination towards art. Under his father's direction he began studies in landscape, and he also diligently copied the works of the chief masters in animal painting which were contained in the academy and court library of Vienna. In the summer he made art tours in the districts of Styria, Tirol, and Salzburg. Two animal pieces which he exhibited at the Vienna Exhibition of 1824 were regarded as remarkable productions for his years, and led to his receiving commissions in 1825 and 1826 from Prince Metternich and Caraman, the French ambassador. His reputation was greatly increased by his picture "The Storm," exhibited in 1829, and from that time his works were much sought after and obtained correspondingly high prices. His "Field Labourer" was regarded by many as the most noteworthy picture in the Vienna exhibition of 1834, and his numerous animal pieces have entitled him to a place in the first rank of painters of that class of subjects. The peculiarity of his pictures is the representation of human and animal figures in connexion with appropriate landscapes and in characteristic situations so as to manifest nature as a living whole, and he particularly excels in depicting the free life of animals in wild mountain scenery. Along with great mastery of the technicalities of his art, his works exhibit patient and keen observation, free and correct handling of details, and bold and clear colouring. He died at Vienna on the 7th of July 1862. Many of his pictures have been engraved, and after his death a selection of fifty-three of his works was prepared for this purpose by the Austrian Kunstverein (Art Union).
Henri-Horace Roland de La Porte
Paris 1724-1793 French painter. He was a pupil of Jean-Baptiste Oudry and was approved by the Academie Royale de Peinture et de Sculpture in 1761 as a 'painter of animals and fruit'. He presented his morceau de reception, the ambitious Vase of Lapis, Ornamented with Bronze and Placed near a Globe (Paris, Louvre), in 1763. This large painting is reminiscent of Oudry's work and depicts a collection of sumptuous objects against a simple cloth backdrop. Roland de la Porte's later works are much more intimate in scale and approach and depict simple rustic objects in a restrained yet realistic fashion in a manner akin to Chardin, for whose works his own have been mistaken. The Still-life with Bread and Fruit (Rotterdam, Boymans-van Beuningen) is bathed in a warm light; the composition is unusual in that the bread, plums and preserve pot are represented at the viewer's eye level, obscuring the top of the table. The Little Orange Tree (Karlsruhe, Staatl. Ksthalle) uses several devices similar to those used by Chardin: a light source comes from the upper left-hand side, throwing some of the surfaces into relief and highlighting them against the indistinct background; a single straw is brought into focus and seems to protrude out of the picture