Victor Boucquet, a Flemish painter, was born at Veurne in 1619. He was the son of Marcus Boucquet, a painter little known. Descamps supposes he must have visited Italy, as his works exhibit a manner that partakes little of the taste of his country. He painted historical subjects, and was also esteemed as a portrait painter. His works are distributed in the different churches of the towns in Flanders. They are well composed, and, like those of most of the artists of his country, are well coloured. In the great church of Nieuport are two altar-pieces by this master, one of which, representing 'The Death of St. Francis,' is particularly admired; and in the town-house there is a large picture by him, considered as his principal work, representing 'The Judgment of Cambyses.' The principal altar-piece in the church at Ostend is by Boucquet: it represents the Taking down from the Cross. He died at Furnes in 1677.  Related Paintings of Victor Boucquet :. | The Baptism of Christ | Imagine the church and buildings | Still life floral, all kinds of reality flowers oil painting 305 | Landscape with the Finding of Moses | Auf der Jagd |
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Charles Parsons
American Painter , 1821-1910
Levitsky, Dmitry
Russian Painter, 1735-1822 .Russian painter of Ukrainian birth. Together with Fyodor Rokotov and Vladimir Borovikovsky, he ranks foremost among 18th-century Russian portrait painters. He received his first lessons in painting from his father, Grigory Levitsky-Nos (1697-1769), a priest, engraver and painter. He also studied under Aleksey Antropov, who had come to Kiev to decorate St Andrew's church (1752-5). In the late 1750s Levitsky went with Antropov to St Petersburg, where he stayed until 1764; he continued with lessons from Antropov to whom, it appears, he owed the objectivity that was to characterize his work. It is probable that he also studied at the St Petersburg Academy of Arts, attending classes under Louis Lagren?e. Levitsky worked with Antropov on the decoration of triumphal arches in Moscow for Catherine II's coronation in 1762. His first known portraits are rather formal, for example that of the architect Aleksandr Kokorinov (1769; St Petersburg, Rus. Mus.), which won Levitsky the title of Academician in 1770. In such works he made successful use of a compositional structure typical of formal European portrait painting, intended to emphasize the importance of the sitter.
Charles Robert Leslie
1794 - 1859 was born in London on 19 October 1794. His parents were American, and when he was five years of age he returned with them to their native country. They settled in Philadelphia, where their son was educated and afterwards apprenticed to a bookseller. He was, however, mainly interested in painting and the drama, and when George Frederick Cooke visited the city he executed a portrait of the actor from recollection of him on the stage, which was considered a work of such promise that a fund was raised to enable the young artist to study in Europe. He left for London in 1811, bearing introductions which procured for him the friendship of West, Beechey, Allston, Coleridge and Washington Irving, and was admitted as a student of the Royal Academy, where he carried off two silver medals. At first, influenced by West and Fuseli, he essayed high art, and his earliest important subject depicted Saul and the Witch of Endor; but he soon discovered his true aptitude and became a painter of cabinet-pictures, dealing, not like those of David Wilkie, with the contemporary life that surrounded him, but with scenes from the great masters of fiction, from Shakespeare and Cervantes, Addison and Moli??re, Swift, Sterne, Fielding and Smollett. Of individual paintings we may specify Sir Roger de Coverley going to Church (1819); May-day in the Time of Queen Elizabeth (1821); Sancho Panza and the Duchess (1824); Uncle Toby and the Widow Wadman (1831); La Malade Imaginaire, act iii. sc. 6 (1843); and the Dukes Chaplain Enraged leaving the Table, from Don Quixote (1849). Many of his more important subjects exist in varying replicas. He possessed a sympathetic imagination, which enabled him to enter freely into the spirit of the author whom he illustrated, a delicate perception for female beauty, an unfailing eye for character and its outward manifestation in face and figure, and a genial and sunny sense of humour, guided by an instinctive refinement which prevented it from overstepping the bounds of good taste. In 1821 Leslie was elected A.R.A., and five years later full academician. In 1833 he left for America to become teacher of drawing in the military academy at West Point, but the post proved an irksome one, and in some six months he returned to England.