German-born English Baroque Era Painter, 1646-1723 English painter and draughtsman of German birth. He was the leading portrait painter in England during the late 17th century and the early 18th, and, as such, the chief recorder of court society for almost 40 years. He popularized the kit-cat format for portraits and was also the founding governor in 1711 of the first proper academy of art in England. His older brother Johann [John] Zachary Kneller (b L?beck, 1642; d London, 1702), with whom he was close, was also a painter; his works include watercolour miniatures and still-lifes,   Related Paintings of KNELLER, Sir Godfrey :. | Horses in the Seine | An Allegory with Venus and Cupid | Story of St Nicholas | Market Scene | Virgin and Child in Glory with Six Saints |
Related Artists:
John F.Francis
American Painter, 1808-1886 American painter. Beginning as an itinerant portrait painter in rural Pennsylvania, he produced works including flattering, colourful portraits of his sisters in the style of Thomas Sully, often incorporating small still-life details. He abandoned portraiture after 1850 to concentrate exclusively on still-life subjects in the tradition of the PEALE family.
jenny nystrom
född i Kalmar 13 juni 1854, död 17 januari 1946
Claude Lorrain
French 1600-1682 Claude Lorrain Galleries In Rome, not until the mid-17th century were landscapes deemed fit for serious painting. Northern Europeans, such as the Germans Elsheimer and Brill, had made such views pre-eminent in some of their paintings (as well as Da Vinci in his private drawings or Baldassarre Peruzzi in his decorative frescoes of vedute); but not until Annibale Carracci and his pupil Domenichino do we see landscape become the focus of a canvas by a major Italian artist. Even with the latter two, as with Lorrain, the stated themes of the paintings were mythic or religious. Landscape as a subject was distinctly unclassical and secular. The former quality was not consonant with Renaissance art, which boasted its rivalry with the work of the ancients. The second quality had less public patronage in Counter-Reformation Rome, which prized subjects worthy of "high painting," typically religious or mythic scenes. Pure landscape, like pure still-life or genre painting, reflected an aesthetic viewpoint regarded as lacking in moral seriousness. Rome, the theological and philosophical center of 17th century Italian art, was not quite ready for such a break with tradition. In this matter of the importance of landscape, Lorrain was prescient. Living in a pre-Romantic era, he did not depict those uninhabited panoramas that were to be esteemed in later centuries, such as with Salvatore Rosa. He painted a pastoral world of fields and valleys not distant from castles and towns. If the ocean horizon is represented, it is from the setting of a busy port. Perhaps to feed the public need for paintings with noble themes, his pictures include demigods, heroes and saints, even though his abundant drawings and sketchbooks prove that he was more interested in scenography. Lorrain was described as kind to his pupils and hard-working; keenly observant, but an unlettered man until his death. The painter Joachim von Sandrart is an authority for Claude's life (Academia Artis Pictoriae, 1683); Baldinucci, who obtained information from some of Claude's immediate survivors, relates various incidents to a different effect (Notizie dei professoni del disegno). John Constable described Claude Lorrain as "the most perfect landscape painter the world ever saw", and declared that in Claude??s landscape "all is lovely ?C all amiable ?C all is amenity and repose; the calm sunshine of the heart"