b. 1590, Paris, d. 1649, Paris.French painter and draughtsman. Although at the time regarded as one of the leading French painters of the first half of the 17th century, he is now known more for his influence on French painting than for his actual oeuvre. He made his reputation in Italy, where he executed numerous portraits for aristocratic patrons and was commissioned for religious subjects. Although the early Italian works show the influence of Caravaggio, his work was subsequently modified by the Baroque style of such painters as Lanfranco and the influence of the Venetian use of light and colour.  Related Paintings of Simon Vouet :. | Diana | Vierge Hesselin | The Rape of Europa | Self portrait | Saturn,conquered by Amor (mk08) |
Related Artists:
RUOPPOLO, Giovanni Battista
Italian Baroque Era Painter, 1629-ca.1690
Marianne Stokes
(1855 Graz, Styria - August 1927 London), born Marianne Preindlsberger in the Austrian province of Styria, was an Austrian painter. She settled in England after her marriage to Adrian Scott Stokes (1854-1935), the landscape painter, whom she had met in Pont-Aven. Marianne Stokes was considered one of the leading artists in Victorian England. Preindlsberger first studied in Munich under Lindenschmidt and having been awarded a scholarship for her first picture, 'Muttergluck', she worked in France under Pascal Adolphe Jean Dagnan-Bouveret (1852-1929), Colin and Gustave Courtois (1853-1923). She painted in the countryside and Paris, and, as with many other young painters, fell under the spell of the rustic naturalist Jules Bastien-Lepage. Her style continued to show his influence even when her subject matter changed from rustic to medieval romantic and biblical. While in France she met the Finnish painter Helene Schjerfbeck, in whose company she visited Pont-Aven in 1883. Her first salon painting, 'Reflection', which had been painted in Brittany, was exhibited in 1885 at the Royal Academy. Her work was also shown at the Grosvenor Gallery, New Gallery, and the Society of British Artists and in 1885, a year after her marriage, she took to using the name 'Mrs. Adrian Stokes'. She held a joint exhibition with her husband at the Fine Art Society in 1900. The Stokes' lived in St Ives where Marianne was a member of the Newlyn School. Having no children, they regularly travelled abroad, frequently to the Tyrol, and in 1905 to Slovakia and the High Tatra. Here they spent about half a year sketching and painting in the villages of Važec, Mengusovce and Ždiar. Adrian Stokes concentrated on landscapes with images of hay-harvesting and picturesque cottages, while Marianne Stokes painted portraits showing fine detail of the garments. These paintings provide a valuable record of the Slovak culture. After abandoning oils, and inspired by the Pre-Raphaelite movement, she painted flat compositions in tempera and gesso, her paintings giving the impression of being frescoes on plaster surfaces. She was an Associate of the Royal Society of Painters in Water Colours.
Guido da Siena
Italian Byzantine Style Painter, 13th Century He may have made significant advances in the techniques of painting, much as Cimabue much later accomplished. However, there is some debate about this. Guido is primarily known for a painting which is now split into several pieces. The church of S. Domenico in Siena contains a large painting of the Virgin and Child Enthroned with six angels above. The Benedictine convent of the same city has a triangular pinnacle representing the Saviour in benediction, with two angels. This was once a portion of the same composition, which was originally a triptych. The principal section of this picture has a rhymed Latin inscription, giving the painter's name as Guido de Senis, with the date 1221. However, this may not be genuine, and the date may really read as 1281. There is nothing particular to distinguish this painting from other work of the same period except that the heads of the Virgin and Child are much superior ?C in natural character and graceful dignity ?C to anything painted before Cimabue. As a result, there is some dispute as to whether these heads are really the work of a man who painted in 1221, long before Cimabue. Crowe and Cavalcaselle have proposed that the heads were repainted in the 14th century, perhaps by Ugolino da Siena. If Crowe and Cavalcaselle are right, Cimabue maintains his claim to the advancement of the art. Beyond this, little is known of Guido da Siena. A picture in the Academy of Siena is attributed to him (a half-figure of the Virgin and Child, with two angels), which dates (probably) between 1250 and 1300.