1684-1721 Antoine Watteau Art Locations He is best known for his invention of a new genre, the fete galante, a small easel painting in which elegant people are depicted in conversation or music-making in a secluded parkland setting (see under FETE CHAMPETRE). His particular originality lies in the generally restrained nature of the amorous exchanges of his characters, which are conveyed as much by glance as by gesture, and in his mingling of figures in contemporary dress with others in theatrical costume, thus blurring references to both time and place. Watteau work was widely collected during his lifetime and influenced a number of other painters in the decades following his death, especially in France and England. His drawings were particularly admired. Documented facts about Watteau life are notoriously few, though several friends wrote about him after his death (see Champion). Of over two hundred paintings generally accepted as his work   Related Paintings of Jean-Antoine Watteau :. | The church at Moret,Evening | Fetes galantes | Le Plaisir pastoral | Das Ballvergnugen | Die Champs elyssees |
Related Artists:
Mina Kolokolnikov
1708e-1775e) was a Russian painter and teacher. Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky. He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique. Kolokolnikov's brothers Ivan and Fedot were also painters.
Loo, Jacob van
Flemish Baroque Era Painter, 1614-1670 was a Dutch painter and popularized around 1650 a close-focus concert on a loggia or terrace. So Van Loo became known for his conversation groupings with a subtle color palette, and according to Arnold Houbraken famous for his nudes. He was the founder of the Van Loo family of painters. Van Loo was born in Zeeland in the Dutch Republic. His father might have been a notary, but most time he is regarded as the son of a painter, Jan van Loo, who trained him. (As part of the city archives in Sluis have been destroyed during World War II it is impossible now to make out what is true). His early influences include Thomas de Keyser and Jacob Adriaensz Backer. In 1642, Jacob moved to Amsterdam, where his contemporaries included Rembrandt, Frans Hals, and Bartholomeus van der Helst. In 1643 he married the sister of the painter Martinus Lengele and had six children. They lived on Rozengracht, in the Jordaan and Eglon van der Neer became one of his pupils. In 1660, Van Loo fled the city after having fatally stabbed someone in his belly, during a fight in an inn. He was sentenced to death in absentia and was forever banned from the state of Holland. Van Loo settled in Paris, where he was admitted to the Acad??mie de peinture et de sculpture and where he died in 1670. Van Loo's work was done in the Baroque style, which had begun in Rome and which was becoming a Europe-wide phenomenon in this period. He was a major influence on Johannes Vermeer, when painting Diana and Her Companions. He painted portraits of Johan Huydecoper van Maarssenveen, his wife, his sister Leonara Huydecoper, married to Jan J.
Jan josephsz van goyen
Dutch , Leyden 1596-The Hague 1656 was a Dutch landscape painter. Van Goyen was an extremely prolific artist; approximately twelve hundred paintings and more than one thousand drawings by him are known. Jan van Goyen was the son of a shoemaker and started as an apprentice in Leiden. Like many Dutch painters of his time, Jan van Goyen studied art in the town of Haarlem with Esaias van de Velde. At age 35, he established a permanent studio at Den Haag (The Hague). Crenshaw tells (and mentions the sources) that Van Goyen's landscape paintings rarely fetched high prices, but he made up for the modest value of individual pieces by increasing his production, painting thinly and quickly with a limited palette of inexpensive pigments. Despite his market innovations, he always sought more income, not only through related work as an art dealer and auctioneer but also by speculating in tulips and real estate. Although the latter was usually a safe avenue of investing money, in Van Goyen's experience it led to enormous debts. Paulus Potter rented one of his houses. Nicolaes van Berchem became his pupil. In 1652 and 1654 he was forced to sell his collection of paintings and graphic art, and he subsequently moved to a smaller house. He died in 1656, still unbelievably 18,000 guilders in debt, forcing his widow to sell their remaining furniture and paintings.