(1 October 1620 - 18 February 1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Pieter de Grebber, Jan Baptist Weenix, Jan Wils and Claes Cornelisz. Moeyaert.According to Houbraken, Carel de Moor told him that Berchem got his name from two words "Berg hem" for "Save him!", an expression used by his fellows in Van Goyen's workshop whenever his father chased him there with the intent to beat him. No trip or Grand Tour by Berchem was documented by Houbraken though he mentioned another story about the "Berg hem!" nickname which came from Berchem's conscription as a sailor; the man in charge of impressment knew him and sent him ashore with the words "Save him!".Today his name is assumed to come from his father's hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, whom he called his cousin, in 1642-5. Works by him are signed both as "CBerghem" and "Berchem".  Related Paintings of Nicolaes Pietersz. Berchem :. | A Gallant Company on a Quayside | Italian Landscape with a Small Bridge | Ruined Aqueduct | Allegory of Summer. | Herdsmen and Herds at a Waterfall |
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Orest Kiprensky
1782-1836 Russian Orest Kiprensky Galleries Orest was born in the village of Koporye near Saint Petersburg on 24 March [O.S. 13 March] 1782. He was an illegitimate son of a landowner Alexey Dyakonov, hence his name, derived from Kypris, one of the Greek names for the goddess of love. He was raised in the family of Adam Shvalber, a serf. Although Kiprensky was born a serf, he was released from the serfdom upon his birth and later his father helped him to enter a boarding school at the Imperial Academy of Arts in Saint Petersburg in 1788 (when Orest was only six years old). He studied at the boarding school and the Academy itself until 1803. He lived at the Academy for three more years as a pensioner to fulfill requirements necessary to win the Major Gold medal. Winning the first prize for his work Prince Dmitri Donskoi after the Battle of Kulikovo (1805) enabled the young artist to go abroad to study art in Europe. A year before his graduation, in 1804, he painted the portrait of Adam Shvalber, his foster father (1804), which was a great success. The portrait so impressed his contemporaries, that later members of the Naples Academy of Arts took it for the painting by some Old Master - Rubens or van Dyck. Kiprensky had to ask the members of the Imperial Academy of Arts for letters supporting his authorship. Wikimedia Commons has media related to: Orest Kiprensky After that, Kiprensky lived in Moscow (1809), Tver 1811, Saint Petersburg 1812, in 1816-1822 he lived in Rome and Napoli. In Italy he met a local girl Anne Maria Falcucci (Mariucci), to whom he became attached. He bought her from her dissolute family and employed as his ward. On leaving Italy, he sent her to a Roman Catholic convent. In 1828, Kiprensky came back to Italy, as he got a letter from his friend Samuel Halberg, informing him that they had lost track of Mariucci. Kiprensky found Mariucci, who had been transferred to another convent. In 1836 he eventually married her. He had to convert into Roman Catholicism for this marriage to happen. He died by pneumonia in Rome later that year.
joseph michael gandy
Joseph Michael Gandy (1771 - 1843) was an English artist, visionary architect and architectural theorist, most noted for his imaginative paintings depicting Sir John Soane's architectural designs. He worked extensively with Soane both as draughtsman and creative partner from 1798 until 1809 when he (ultimately unsuccessfully) set up his own practice. Gandy built little in his career, having a reputation as a difficult individual to deal with. However his work included the Phoenix Fire and Pelican Life Insurance Offices (1804?C1805, destroyed ca. 1920) in London, Doric House at Sion Hill in Bath (1818), and the remodelling of Swerford Park house in Oxfordshire (1824?C1829). Commercially he was a failure and served two terms in a debtors' prison, but his published and exhibited work was largely a critical and popular success. In 1821 he published two articles in the Magazine of Fine Arts on The Philosophy of Architecture. He intended to expand upon this subject in an eight-volume work entitled Art, Philosophy and Science of Architecture, of which his unpublished manuscript survives. His paintings show a dramatic use of two-point perspective and architectural precision, and also reflect his (and Soane's) fascination with Roman ruins. His architectural fantasies owe a clear debt to Piranesi and play upon historical, literary and mythological themes with a feeling for the sublime that is the equal of his contemporaries J. M. W. Turner and John Martin. He died in a private asylum in Devon where he had been placed by his family in 1839. Many of his paintings can be seen in the Pictures Room of Sir John Soane's Museum in London.
Monsu Bernardo
1624 - 1687