Dutch painter (b. 1633, Leiden, d. 1707, London). was a Dutch marine painter. Willem van de Velde was baptised on 18 December 1633 in Leiden, Holland, Dutch Republic. A son of Willem van de Velde the Elder, also a painter of sea-pieces, Willem van de Velde, the younger, was instructed by his father, and afterwards by Simon de Vlieger, a marine painter of repute at the time, and had achieved great celebrity by his art before he came to London. In 1673 he moved to England, where he was engaged by Charles II, at a salary of £100, to aid his father in "taking and making draughts of sea-fights", his part of the work being to reproduce in color the drawings of the elder van de Velde. He was also patronized by the Duke of York and by various members of the nobility. He died on 6 April 1707 in London, England. Most of Van de Velde's finest works represent views off the coast of Holland, with Dutch shipping. His best productions are delicate, spirited and finished in handling, and correct in the drawing of the vessels and their rigging. The numerous figures are tellingly introduced, and the artist is successful in his renderings of sea, whether in calm or storm.   Related Paintings of VELDE, Willem van de, the Younger :. | The Cannon Shot we | kanonskottet | The pendants The cannon shot and The gust in the collection of the Rijksmuseum Amsterdam | The Cannon Shot | The Cannon Shot (mk08) |
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Conrad Wise Chapman
1842-1910 Conrad Wise Chapman Gallery
Karl von Piloty
Karl Theodor von Piloty (1 October 1826 - 21 July 1886) was a German painter. Von Piloty was born in Munich. His father, Ferdinand Piloty (d. 1844), enjoyed a great reputation as a lithographer. In 1840, Karl was admitted as a student of the Munich Academy, under the artists Karl Schorn and Julius Schnorr von Karolsfeld. After a journey to Belgium, France and England, he commenced work as a painter of genre pictures, and in 1853 produced a work, Die Amme (The Wet Nurse), which, on account of its originality of style, caused a considerable sensation in Germany at the time. But he soon forsook this branch of painting in favour of historical subjects, and produced in 1854 for King Maximilian II The Accession of Maximilian I to the Catholic League in 1609. It was succeeded by Seni at the Dead Body of Wallenstein (1855), which gained for the young painter the membership of the Munich Academy, where he succeeded Schorn (his brother-in-law) as professor. Among other well-known works by Piloty are the Battle of the White Mountain near Prague, Nero Dancing upon the Ruins of Rome (1861), Godfrey of Bouillon on a Pilgrimage to the Holy Land (1861), Galileo in Prison (1864) and The Death of Alexander the Great (unfinished), his last great work. He also executed a number of mural paintings for the royal palace in Munich. For Baron von Schach, he painted the famous Discovery of America. In 1874, he was appointed keeper of the Munich Academy, being afterwards ennobled by the king of Bavaria. Piloty was the foremost representative of the realistic school in Germany. He was a successful teacher, and among his more famous pupils were Hans Makart, Franz von Lenbach, Franz Defregger, Gabriel von Max, Georgios Jakobides and Eduard von Gretzner.
Jean-Baptiste Carpeaux
(May 11, 1827 - October 12, 1875) was a French sculptor and painter. Born in Valenciennes, Nord, son of a mason, his early studies were under François Rude. Carpeaux entered the Ecole des Beaux-Arts in 1844 and won the Prix de Rome in 1854, and moving to Rome to find inspiration, he there studied the works of Michelangelo, Donatello and Verrocchio. Staying in Rome from 1854 to 1861, he obtained a taste for movement and spontaneity, which he joined with the great principles of baroque art. Carpeaux sought real life subjects in the streets and broke with the classical tradition. While a student in Rome, Carpeaux submitted a plaster version of Pe - heur napolitain e la coquille, the Neapolitan Fisherboy, to the French Academy. He carved the marble version several years later, showing it in the Salon exhibition of 1863. It was purchased for Napoleon III's empress, Eugenie. The statue of the young smiling boy was very popular, and Carpeaux created a number of reproductions and variations in marble and bronze. There is a copy, for instance, in the Samuel H. Kress Collection in the National Gallery of Art in Washington D.C.. Some years later, he carved the Girl with a Shell, a very similar study. In 1861 he made a bust of Princess Mathilde, and this later brought him several commissions from Napoleon III.