French Neoclassical Painter, 1780-1867 was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..  Related Paintings of Jean-Auguste Dominique Ingres :. | Portrait of Prince Ferdinand Philippe | Yileyatei | mme moitessier | The Turkish Bath | The Violinist Niccol |
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David Bailly
(1584-1657) was a Dutch Golden Age painter. Bailly was born at Leyden in the Dutch Republic, the son of a Flemish immigrant, calligrapher and fencing master, Peter Bailly. As a draftsman, David was pupil of his father and the copper engraver Jacques de Gheyn. David Bailly apprenticed with a surgeon-painter Adriaan Verburg in Leiden and then with Cornelius van der Voort (1576-1624), a portrait painter in Amsterdam. According to Houbraken, in the winter of 1608, Bailly took his Grand Tour, travelling to Frankfurt, Nuremberg, Augsburg Hamburg, and via Tirol to Venice, and from there to Rome. On his return he spent five months in Venice, all the while working as a journeyman where he could, before crossing the alps again in 1609. On his return voyage, Bailly worked for several German princes including the Duke of Brunswick. Upon his return to the Netherlands in 1613, Bailly began painting still-life subjects and portraits, including self-portraits and portraits of his students and professors at the University of Leiden. He is known for making a number of vanities paintings depicting transience of this life, with such ephemeral symbols as flowers and candles. Bailly taught his nephews Harmen and Pieter Steenwijck.
Clara Southern
Australian artist, 1860-1940 Australian painter. One of the first generation of progressive, professionally educated Australian women artists, she began her training as a pupil of Mme Mouchette, painter, schoolmistress and founder of the Alliance Fran?aise in Melbourne; and later took lessons from Walter Withers. As a student at the National Gallery of Victoria (1883-7) she was nicknamed 'Panther' for her lithe beauty. From mid-1888 she shared a teaching studio with Jane Sutherland in the new purpose-built Grosvenor Chambers, where Tom Roberts was a neighbour. She had 'caught the "Impressionist" fever', reported Table Talk (2 Aug 1889), and showed 'a great variety of charming little sketches, which however are not intended for exhibition'. She showed with the Victorian Artists' Society (1889-1917): mainly subjects around Kyneton and Melbourne's outer suburbs, painted in the fresh, quasi-Impressionist style characteristic of the Heidelberg school.
Kerstiaen de Keuninck
1560-1635 Flemish Kerstiaen de Keuninck Gallery Flemish painter. Although from Courtrai, from an early age he lived in Antwerp. He was listed in 1577 as one of the recipients of the Poor-box (armenbus) of the Antwerp Guild of St Luke, where he was received as master in 1580. He married in 1585. De Keuninck took on Carel de Ferrara as an apprentice in 1599. His son Kerstiaen de Keuninck the younger (d 1642-3) became a master in 1613. In 1629 Engel Ergo started an apprenticeship with a Kerstiaen de Keuninck: it is not clear whether this refers to father or son.