French Painter, 1723-1769 French painter. A pupil of Francois Boucher, whose younger daughter he married in 1758, he specialized in miniatures painted in gouache, which he first exhibited at the Salon of 1761. He was received as a member of the Acad?mie Royale in 1763 with a small gouache of a historical subject, Phryne Accused of Impiety before the Areopagite (Paris, Louvre), and he later painted illustrations of biblical episodes. However, he made his name as a painter of libertine scenes in contemporary settings, which he exhibited regularly at the Salon from 1763 until 1769. Some of his work is directly inspired by Boucher's scenes of pastoral love, but the ostensibly moral themes and careful attention to detail of such paintings as the Modest Model (exh. Salon 1769; Washington, DC, N.G.A.) demonstrate that he was also influenced by Jean-Baptiste Greuze. His pictures were condemned for their immorality, both by the Archbishop of Paris, who in 1763 and 1765 ordered that works by Baudouin be withdrawn from the Salon, and also by Denis Diderot and other critics who accused him of pandering to the decadent taste of his patrons. Nevertheless, Baudouin was one of the most popular artists of the last decades of the ancien regime.   Related Paintings of Pierre-Antoine Baudouin :. | Les Laveuses a la Laita | Woodland with Brook | Landscape in the midi | Self-Portrait | Coronation of the Virgin |
Related Artists:
Nardo di Cione
Italian Byzantine Style Painter, active 1343-ca.1365 was an Italian painter, sculptor and architect from Florence. He was the brother of the more accomplished Andrea di Cione, called Orcagna, as well as Jacopo di Cione; they were important members of the Painter's Guild of Florence. While Orcagna has been noted as the more accomplished artist, Nardo developed his own unique style, described as a pronounced lyrical vein, a feeling for poetic values, strong human sympathies and great sensitivity to colour as a means of subtle differentiation and soft modeling. The brothers collaborated on a number of works from their studio together, including the decorations from the Cappella Strozzi in the Santa Maria Novella. While Orcagna painted the altarpiece, Nardo executed the frescoes of The Last Judgment, Paradise and Hell.
Bernat Martorell
was a Spanish painter, working in an Early Renaissance style. Little is known of his life prior to 1427, though by the mid 15th century he was one of the leading artists in Catalonia.
BOEL, Pieter
Flemish Baroque Era Painter, 1622-1674 Flemish painter, draughtsman and etcher. He came from an artistic family: his father Jan Boel (1592-1640), was an engraver, publisher and art dealer; his uncle Quirin Boel I was an engraver; and his brother Quirin Boel II (1620-40) was also a printmaker. Pieter was probably apprenticed in Antwerp to Jan Fyt, but may have studied previously with Frans Snyders. He then went to Italy, probably visiting Rome and Genoa, where he is supposed to have stayed with Cornelis de Wael. None of Boel's work from this period is known. In 1650 he became a master in the Antwerp Guild of St Luke (having given his first name as Jan, not Pieter). His marriage to Maria Blanckaert took place at about the same time. Boel dated only a few of his paintings, making it difficult to establish a chronology. He is best known for his hunting scenes, some of which clearly show his debt to Snyders, but the dominant influence on his work was that of Fyt, particularly evident in his emphatic brushwork. However, Boel was more restrained both in his treatment and in his handling of outline. He also borrowed the theme of open-air hunting still-lifes (e.g. Feathered Game with Three Dogs; Madrid, Prado) from Fyt, but he painted other subjects as well, such as the monumental Vanitas Still-life (e.g. 1633; Lille, Mus. B.-A.).