1685-1766 French Jean Marc Nattier Gallery Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Academie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as cold. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Academie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage). The Tsar offered Nattier work at the Russian court, but the artist declined the offer. He remained in Paris for the rest of his life.  Related Paintings of Jean Marc Nattier :. | Portrait of a Lady | Portrait of Madame Sophie, Daughter of Louis XV | dite autrfois Madame de France | Madame Sophie of France | Madame Sophie of France |
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Adam Pijnacker
15 February 1622, Schiedam - buried 28 March 1673, Amsterdam ) was a Dutch Golden Age painter, mostly of landscapes. Pynacker was the son of a wine merchant, who was a member of the vroedschap, or city regency. He travelled to Italy and was gone for three years. In 1658 he converted to Catholicism in order to marry Eva Maria de Geest, Wybrand de Geest's daughter. In that year his portrait was painted by his father-in-law. In Schiedam he baptized two children, but from 1661 until he died, he lived on the Rozengracht in Amsterdam.
Marcello Fogolino
(active 1510-1548) was an Italian painter of the Renaissance or Mannerist style. Originally from the Friuli, he worked early in his life in Vicenza. Returning to Friuli in 1520-21, he came to reflect the painterly style of Il Pordenone. He completed a painting of Saints Francis and John the Baptist with Prophet Daniel for the Duomo in Pordenone. He was banished from Venice, for complicity in a murder in 1527, and went to Trento. He worked painting frescoes in the Tridentine region, including Castel Buonconsiglio, Castello Malpaga, Villa Salvotti, and Palazzo Sardagna.
Guido da Siena
Italian Byzantine Style Painter, 13th Century He may have made significant advances in the techniques of painting, much as Cimabue much later accomplished. However, there is some debate about this. Guido is primarily known for a painting which is now split into several pieces. The church of S. Domenico in Siena contains a large painting of the Virgin and Child Enthroned with six angels above. The Benedictine convent of the same city has a triangular pinnacle representing the Saviour in benediction, with two angels. This was once a portion of the same composition, which was originally a triptych. The principal section of this picture has a rhymed Latin inscription, giving the painter's name as Guido de Senis, with the date 1221. However, this may not be genuine, and the date may really read as 1281. There is nothing particular to distinguish this painting from other work of the same period except that the heads of the Virgin and Child are much superior ?C in natural character and graceful dignity ?C to anything painted before Cimabue. As a result, there is some dispute as to whether these heads are really the work of a man who painted in 1221, long before Cimabue. Crowe and Cavalcaselle have proposed that the heads were repainted in the 14th century, perhaps by Ugolino da Siena. If Crowe and Cavalcaselle are right, Cimabue maintains his claim to the advancement of the art. Beyond this, little is known of Guido da Siena. A picture in the Academy of Siena is attributed to him (a half-figure of the Virgin and Child, with two angels), which dates (probably) between 1250 and 1300.