1619-1688 Dutch Philips Koninck Gallery Little is known of his history except that he was said to be a pupil of Rembrandt, whose influence is to be seen in much of his work. He painted chiefly broad, sunny landscapes, full of space, light and atmosphere; they are seen from a high perspective, allowing a prominent view of the sky. Portraits by him, somewhat in the manner of Rembrandt, also exist (e.g. see Joost van den Vondel); there are examples of these in the galleries at Copenhagen and Oslo. Of his landscapes, the principal are View at the mouth of a river at the Hague, with a slightly larger replica in the National Gallery, London; Woodland border and countryside (with figures by Adriaen van de Velde) at Amsterdam; and landscapes in Brussels, Florence (the Uffizi), Berlin and Cologne. Koninck, a prosperous businessman, appears to have painted few pictures during the last decade of his life. Several of his works have been falsely attributed to Rembrandt and many more to his namesake and fellow townsman Salomon de Koninck (1609-1656), also a disciple of Rembrandt, whose paintings and etchings consist mainly of portraits and biblical scenes. Both of these painters are to be distinguished from David Koninck (1636?-1687), also known as Rammelaar. David Koninck was born in Antwerp and studied there under Jan Fyt. He later settled in Rome, where he is stated to have died in 1687; this, however, is doubtful. His pictures are chiefly landscapes with animals and still life.   Related Paintings of Philips Koninck :. | Wide River Landscape | Flat landscape | An Extensive Landscape with a Hawking Party | Village on a Hill | An Extensive Landscape with a Road by a Ruin |
Related Artists:
Samuel Masse
painted Lot and his daughters. in 1710s
Francesco Zuccarelli
Italian 1702-1788 1788). Italian painter and draughtsman, active in England. Zuccarelli training began in Florence, where he engraved the frescoes by Andrea del Sarto in SS Annunziata. He then studied in Rome under Paolo Anesi and learnt figure drawing from Giovanni Maria Morandi (1622-1717), although in this he never acquired any great skill. His earliest recorded paintings were Mary Magdalene and St Jerome (both untraced), which he contributed to the exhibition of the feast of St Luke in Florence in 1729. He also painted portraits. Around 1730 he moved to Venice and began painting landscapes exclusively. His interest in this field may have led to his becoming acquainted with the Welsh landscape painter Richard Wilson in 1750-51. Wilson painted a lively portrait of him (1751; London, Tate) in exchange for one of Zuccarellis landscapes. Zuccarelli avoided both the topographical type of Venetian view developed by Canaletto and the stormier landscapes of Marco Ricci, adopting instead a decorative landscape style of idealized Italian countryside. His subject-matter was usually unspecific rather than recognizably historical, biblical or mythological. For example, in the early 1740s he executed six paintings purporting to be scenes from the story of Jacob, but the paintings themselves bear few references to it (e.g. Landscape with Two Seated Women Embracing, 1743; Windsor Castle, Berks, Royal Col.).
Domenico Puligo
(1492-1527) was an Italian painter of the Renaissance, active in Florence. His real name was Domenico di Bartolommeo Ubaldini. He was trained by Ridolfo Ghirlandaio, but acquired a style consistent with his contemporary Andrea del Sarto. He painted a Vision of Saint Bernard altarpiece, now in Walters' Gallery in Baltimore. He was also in demand for portraits. He is featured in Giorgio Vasari's Vite or biographies of artists. He excelled as a portrait painter. He befriended Andrea del Sarto ane worked with Ridolfo Ghirlandaio. His brother, Jacone Puligo was also a Renaissance painter.