Dutch Baroque Era Painter, 1627-1678 Dutch portrait painter and etcher, studied with his father, Dirk van Hoogstraten (1596?C1640), and with Rembrandt. His best works, such as The Old Jew (Vienna), reflect the influence of Rembrandt. He was director of the Academy in Dordrecht and author of a treatise (1678) in which he analyzed the theory and practice of the art of Rembrandt and other artists of the period.  Related Paintings of Samuel van hoogstraten :. | anemic lady | Woman at a dutch door | Self-Portrait at the Age of Seventeen,wtih Still Life | Still Life | a view down a corridor |
Related Artists:
Isaac Fuller
c.1606--72 English painter. He was renowned in his day for large historical, mythological and biblical subjects but was also a very able portrait painter. According to Vertue, he studied under Fran?ois Perrier in France c. 1630, and in 1644 he is documented as working in Oxford, at the same time as William Dobson. There he painted altarpieces, including a Resurrection for All Souls College (a wild imitation of Michelangelo, which John Evelyn considered 'too full of nakeds for a chapel'), a Last Judgement for Magdalen College and a Last Supper for Wadham College. None of these works is known to survive. He also copied Dobson's Beheading of John the Baptist, substituting the heads with portraits of his friends. On moving to London, Fuller worked on decorative schemes for churches, taverns and private houses and continued to paint portraits. In 1654 he published a drawing book, Un libro di disegnare, with 15 etched plates, but there are no known copies. Much of his decorative work was destroyed in the Great Fire in 1666, including that in the Painters' Hall and St Mary Abchurch. Vertue admired his erotic life-size Bacchic figures in the Mitre Tavern in Fenchurch Street. Five crudely painted canvases commemorating the Adventures of Charles II after the Battle of Worcester in 1651 (London, N.P.G.) are his only surviving decorative works. Fuller's reputation as a painter rests mainly on three variants of a Rembrandtesque Self-portrait (1670; Oxford, Bodleian Lib.; Oxford, Queen's Coll
Louis Eilshemius
1864-1941 Louis Eilshemius Gallery Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League of New York. He subsequently studied under Bouguereau at the Acad??mie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life. His early landscapes, which show the influence of the Barbizon school and of Corot, George Inness and Albert Pinkham Ryder, gained him little recognition from critics or from the public. Around 1910, the element of fantasy in his work became more pronounced and his technique became coarser; henceforth, he often painted on cardboard instead of canvas. As his works became more idiosyncratic, so did his behavior, and he developed an unsettling habit of visiting galleries and loudly condemning the works on display. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air. His paintings of New York rooftops are as lyrical as his pastoral scenes, and like them are often bounded by sinuous "frames" he painted onto his pictures. Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his numerous, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures: suspecting that the length of his name was responsible for his neglect, in about 1890 he began signing his paintings "Elshemus" (he reverted back to the original spelling in 1913). On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: "Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages", as well as world-class athlete and marksman, "Spirit-Painter Supreme", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan. He was not without supporters, however. He was championed by Marcel Duchamp, who "discovered" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Soci??t?? Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937. The remainder of his life was dedicated to self-promotion, and in 1931 he took to referring to himself as "Mahatma". Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941. Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State.
Charles Jacque
(23 May 1813 - 7 May 1894) was a French painter of animals (animalier) and engraver who was, with Jean-François Millet, part of the Barbizon School. He first learned to engrave maps when he spent seven years in the French Army. Fleeing the Cholera epidemics that besieged Paris in the mid-nineteenth century, Charles Jacque relocated to Barbizon in 1849 with Millet. There, he painted rustic or pastoral subject matter: shepherds, flocks of sheep, pigs, and scenes of farm life. In addition to painting, Jacque was also famous for his etchings and engravings. He, along with Felix Bracquemond and Felix Buhot, is credited with the nineteenth-century revival of seventeenth-century techniques. He began his career as an engraver around 1841 by publishing a series of etchings with Louis Marvy. He followed this work with a serious of engravings based on the works of Adriaen van Ostade, after which he began to create original engravings / artworks. Charles Baudelaire said of him, "Mr. Jacque new reputation will continue to grow always, we hope. His etchings are very bold and his subject matter is well conceived. All that Mr. Jacque does on copper is filled with a freedom and a frankness which reminds one of the Old Masters.