1797-1856 French Paul Delaroche Locations Painter and sculptor, son of Gregoire-Hippolyte Delaroche. Though he was offered a post in the Bibliotheque Nationale by his uncle, Adrien-Jacques Joly, he was determined to become an artist. As his brother Jules-Hippolyte was then studying history painting with David, his father decided that Paul should take up landscape painting, and in 1816 he entered the Ecole des Beaux-Arts to study under Louis-Etienne Watelet (1780-1866). Having competed unsuccessfully for the Prix de Rome for landscape painting, he left Watelet studio in 1817 and worked for a time with Constant-Joseph Desbordes (1761-1827). In 1818 he entered the studio of Antoine-Jean Gros, where his fellow pupils included Richard Parkes Bonington, Eugene Lami and Camille Roqueplan.  Related Paintings of Paul Delaroche :. | Le comte Narcisse Achille de Salvandy | Napoleon Bonaparte abdicated in Fontainebleau | Le comte James Alexandre de Pourtales dans son hotel du n 7, rue Tronchet. | Peter I of Russia | Herodias |
Related Artists:
Jan Cornelisz Vermeyen
(c.1500-1559) was a Dutch Northern Renaissance painter. According to Karel van Mander he was born in Beverwijk in 1500 and was honored for his career in the service of Charles V. He was a friend of Jan van Scorel and his portrait was engraved by Jan Wierix for Dominicus Lampsonius. Vermeyen was a painter and tapestry designer, probably a pupil of Jan Mabuse. About 1525 he became Court Painter to Margaret of Austria, regent of the Netherlands at Mechelen and in 1535 he accompanied the Emperor Charles V, at the Conquest of Tunis (1535). This journey supplied him with scenes for later works, including tapestries designed 1545/48 for the Regent, Mary of Hungary. He died in Brussels. Many portraits are ascribed to him on very little evidence, according to modern scholars.
Jacopo Ligozzi
(1547 - 1627) was an Italian painter, illustrator, designer, and miniaturist of the late Renaissance and early Mannerist styles. Born in Verona, he was the son of the artist Giovanni Ermano Ligozzi, and part of a large family of painters and artisans. After a time in the Habsburg court in Vienna where he displayed drawings of animal and botanical specimens, he was invited to come to Florence, receiving the patronage of the Medici as one of the court artists. Upon the death of Giorgio Vasari in 1574, he became head of the Accademia e Compagnia delle Arti del Disegno, the officially patronized guild of artists, which was often called to advise on diverse projects. He served Francesco I, Ferdinando I, Cosimo II and Ferdinando II, Grand Dukes of Tuscany. He worked on some projects with Bernardino Poccetti. Late in life, he was named director of the grand-ducal Galleria dei Lavori, a workshop providing designs for artworks made mainly for export: embroidered textiles and for the newly popular medium of pietre dure, mosaics of semiprecious stones and colored marbles. Jacopo Ligozzi was born at Verona c. 1543, He died after 1632. He painted some frescoes for the cloister of the Ognissanti. He painted for Santa Maria Novella a canvas of St. Raymond resuscitating a Child and a Martyrdom of St. Dorothea for the church of the Conventuali at Pescia. Both Agostino Carracci and Andrea Andreani engraved some of his works
Jacob Levecq
(1634 - 1675), was a Dutch Golden Age painter trained by Rembrandt. According to Houbraken, who was his pupil during the last 9 months of his life, he had been trained by Rembrandt, but inherited a sum of money when his parents died, that he used to take care of himself, his two unmarried sisters and a blind half-brother. Houbraken could not recall much of his painting style, since he had been mostly sick while he was living in the house, and he no longer painted actively. In his younger years Levecq travelled to Paris and Sedan where he painted portraits, and on his return to Dordrecht became a portrait painter in the manner of Jan de Baen. When he died, Houbraken inherited a third of his prints, but regretted the fact that as a young boy with little experience in such matters, he only chose prints by Lucas van Leyden and Albert Durer, and had left the French prints for others, and so was very glad that he had received one anyway by Charles le Brun.