1563-1639 Italian Orazio Gentileschi Galleries Tuscan painter, b. Pisa. His real surname was Lomi, but he adopted his uncle name. He studied in Rome, where he was associated with Agostino Tassi in the decoration of palace interiors. Influenced by Caravaggio, Gentileschi developed a more softly luminous light and a cooler, more lyrical style. He also painted frescoes in Santa Maria Maggiore and in the Lateran. After spending several years in Genoa and in France, he settled in England (1626) at the invitation of Charles I. Gentileschi principal works include The Annunciation (San Siro, Genoa); Flight into Egypt (Louvre); Sibyl (Hampton Court, England); and Moses Saved from the Waters (Prado). He also painted numerous portraits. Artemesia Gentileschi was his daughter.   Related Paintings of Orazio Gentileschi :. | Dimensions and material of painting | The Lute Player | Annunciation 77 | Le Repos de la Sainte Famille pendant la fuite en Egypte | The Lute Player |
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Jean-Germain Drouais
1763-1788 French Jean Germain Drouais Locations Son of Francois-Hubert Drouais. He trained first with his father and in 1778 enrolled at the Academie Royale, becoming a pupil of Nicolas-Guy Brenet. Around 1781 he entered Jacques-Louis David studio as one of his first pupils. The following year, though not officially entered for the competition, he painted that year Prix de Rome subject, the Return of the Prodigal Son (Paris, St Roch), presumably as a trial for his own edification. The picture has a friezelike composition and reveals both the influence of Jean-Francois Peyron and David as well as debts to Poussin and Italian 17th-century sources. In 1783 Drouais reached the Prix de Rome final with the Resurrection of the Son of the Widow of Nain (Le Mans, Mus. Tesse) but was eliminated from the competition in extraordinary circumstances: impatient to know his master opinion, Drouais cut a section off the canvas and smuggled it out of the competition rooms. David acknowledged it to be the best thing his favourite pupil had yet done, but by his hasty action Drouais had disqualified himself. However, the following year he won the prize, and great acclaim, with the Woman of Canaan at the Feet of Christ (Paris, Louvre), an extremely accomplished piece influenced by Poussin work and David Belisarius (Lille, Mus. B.-A.).
PAOLINI, Pietro
Italian painter, Lucchese school (b. 1603, Lucca, d. 1681, Lucca) Italian painter. He was the son of Tommaso Paolini and Ginevra Raffaelli, both from Lucca. In 1619 Paolini's father sent him to study under Angelo Caroselli in Rome. His artistic formation was also influenced by the circle of Italian and, especially, northern European followers of Bartolomeo Manfredi, who were active in Rome between 1620 and 1630. The following works, though undocumented, may be dated to this Roman period: Martha and Mary Magdalene (Rome, Gal. Pallavicini), the Concert of Female Musicians (Malibu, CA, Getty Mus.) and the Bacchic Concert (Dallas, TX, Hoblitzelle priv. col., see Maccari Giusti, pl. 3). Paolini's first religious works, such as the Deposition (Lucca, S Frediano), as well as many portraits, also show signs of Roman influence. Around 1628 he went to Venice, where he stayed for two years. The effects of this visit can be seen in his later religious works, such as the Virgin and Saints (Rome, Pal. Barberini) and the Virgin and Saints (Lucca, Villa Guinigi), and also in his history paintings, such as Esther and Ahasuerus (Denver, CO, A. Mus.). He returned to Lucca in 1631, where, from these early experiences, he created an original style, in which he painted cabinet pictures, often on musical or allegorical themes, such as the Ages of Life (Lucca, Mazzarosa priv. col., see Maccari Giusti, pl. 10) and the series Music, Astronomy, Geometry, Philosophy (Lucca, Bertocchini Dinucci priv. col., see Maccari Giusti, pls 56-9). Around 1650 he opened, at his own expense, an academy based on the principle of 'art from nature', at which numerous artists, such as Girolamo Scaglia (d c. 1686), Antonio Franchi, Simone del Tintore and his brother Francesco (1645-1718) were trained.
Jan Weenix
Dutch Baroque Era Painter , Amsterdam 1640/42-1719 Painter and draughtsman, son of (1) Jan Baptist Weenix. Jan probably received his first instruction as a painter from his father, and it is possible that he helped finish certain of his father's works. He probably remained in Utrecht after his father's death. By 1664 he had become a member of the Guild of St Luke in Utrecht without, however, having submitted the required entrance painting, which he provided by 1668. There are several documented references to Jan in the late 1660s. He inherited a legacy along with his uncle, the painter Barent Micker, and other family members in 1667, at which time Gillis, his younger brother, apparently still required a guardian. He received another legacy in 1668, the year of his marriage, and in 1669 served as a witness for the inventory of the painter Jacob de Hennin (1629-c. 1688) in The Hague.