Irish Painter, 1806-1870 Irish painter, active in England. He grew up in Cork where his father had set up as a shoemaker after discharge from the British army. In 1822 Maclise went to the Cork Institute where he began to draw from the newly arrived collection of casts made after the antique sculpture in the Vatican, laying the foundation of the strong draughtsmanship that characterizes his mature work. Richard Sainthill, antiquary and connoisseur, encouraged Maclise and introduced him to local literary and artistic circles, which were influenced by the Romantic movement and interested in Irish antiquities and oral traditions. Maclise was a central figure in this early phase of the Irish revival, and maintained an interest in Irish subject-matter throughout his career; in 1833 he painted Snap Apple (Mrs Cantor priv. col.), and in 1841 contributed illustrations to Samuel Carter Hall's Ireland: Its Scenery and Character. When Sir Walter Scott visited Cork in 1825, Maclise made a sketch of him that was lithographed, and that inaugurated his public career.  Related Paintings of Maclise, Daniel :. | A Scene from | Charles Dickens | The Meeting of Wellington and Blucher at Waterloo | The Marriage of Strongbow and Aoife | Merry Christmas in the Baron's Hall |
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Jean Baptiste Wicar
Jean-Baptiste Wicar (22 January 1762, Lille - 27 February 1834, Rome) was a French Neoclassical painter and art collector. The son of a carpenter, Wicar studied drawing at the free school in Lille before further honing his talents in the studio of David. The drawings Wicar created of Tableaux, statues, bas-reliefs et camees de la Galerie de Florence et du palais Pitti (Paintings, statues, bas-reliefs and cameos in the Gallery of Florence and the Pitti Palace) were published in Paris in 4 volumes at the Lacombe publishing house from 1789 to 1807. Wicar headed the commission set up by Napoleon I of France to loot artworks from the Austrian Netherlands to enrich museums in France - an initial convoy left Antwerp on 11 August 1794, notably with paintings by Rubens, for the Louvre. Abbeys and castles were systematically emptied of their contents, furniture and works of art. Wicar was also a member of the commission des sciences et des arts on the Italian campaign, in the entourage of Bonaparte. This commission was charged with seizing artworks that could enrich French national museum collections. He finally permanently settled in Rome in 1800 and became a portraitist of European renown. On his death in Rome, Wicar left the major collection of 1,300 drawings he had accumulated over his lifetime to the Societe des Sciences, de leAgriculture et des Arts de Lille. Mostly from the Italian school, but also in some small measure from the northern schools, it held drawings by artists like Raphael, Albrecht Derer, Lucas Cranach, Nicolas Poussin and Jacques-Louis David.
PIAZZA, Callisto
Italian painter, Lombard school (b. ca. 1500, Lodi, d. ca. 1561, Lodi) Early collaborative projects with Martino and Albertino remain problematic. He probably moved to Brescia in 1523; the first major extant dated work is a Nativity (1524; Brescia, Pin. Civ. Tosio-Martinengo), painted for S Clemente, Brescia. In Brescia he studied the work of Moretto da Brescia and of Gerolamo Romanino, with whom he may have collaborated. Their influence is seen in the Visitation (1525; Brescia, S Maria Calchera) and especially in the group of works painted for churches in the Valcamonica. These include a Deposition (1527; Esine parish church); a Virgin Enthroned with Saints (Breno, S Antonio); a frescoed lunette of the Virgin Enthroned with Saints
William Mctaggart
Scottish Painter, 1835-1910 was a Scottish landscape painter who was influenced by Impressionism. The son of a crofter, William McTaggart was born in the small village of Aros in Kintyre. He moved to Edinburgh at the age of 16 and studied at the Trustees' Academy under Robert Scott Lauder. He won several prizes as a student and exhibited his work in the Royal Scottish Academy, becoming a full member of the Academy in 1870. His early works were mainly figure paintings, often of children, but he later turned to land and seascape painting, inspired by his childhood love of the sea and the rugged, Atlantic-lashed west coast of his birth. The Storm, 1890, National Gallery of Scotland, Edinburgh.McTaggart was fascinated with nature and man??s relationship with it, and he strove to capture aspects such as the transient effects of light on water. He adopted the Impressionist practice of painting out of doors, and his use of colour and bold brushwork resemble qualities found in paintings by Constable and Turner, both artists whom he admired. McTaggart was skilled in the use of both oil and watercolour and, in addition to Kintyre seascapes, he also painted landscapes and seascapes in Midlothian and East Lothian. Many of his later works depict the Moorfoot Hills which could be seen from his house near Lasswade, which he moved to in 1889.