Related Paintings of unknow artist :. | Floral, beautiful classical still life of flowers.083 | Arab or Arabic people and life. Orientalism oil paintings 31 | Nilotic mosaic with hippopotamus,crocodile and ducks | Still Life of wine-glasses,a decanter,a glass bowl,sweet breads,figs and peaches upon pewter plates,together with a gilt ewer and flowers,all upon a m | Every detail of this vessel am failing meticulous overwrought pa this job of the depend skulptoren Pierre Pugen |
Related Artists:
Gerard Seghers
(Antwerp, 1591-18 March 1651), also Zegers, was a Flemish Baroque painter and one of the leading Caravaggisti in the Southern Netherlands. He was the son of an innkeeper but not related to the jesuit and painter Daniel Seghers. He was possibly a student of either Abraham Janssens or Hendrick van Balen, and he showed great talent, because in 1608 aged only 17 he is listed as a master in the Guild of St. Luke. It was during his trip to Italy around 1613 that he came under the influence of Caravaggio's followers. Bartolomeo Manfredi, in particular, was influential. Many other Dutch and Flemish painters were working in the style there, such as Gerard Honthorst, which is strongly characterized half-length figures illuminated by strong lighting and dramatic chiaroscuro. One work from this period is his Judith with the Head of Holofernes in the Galleria Nazionale d'Arte Antica, Rome. Caravaggism, both in history and monumental genre paintings, continued to mark Seghers's works when he returned to Antwerp around 1620. The Patient Job, National Gallery, Prague.He married on his return to Antwerp (ca.1621) with Catharina Wouters (d.1656), with whom he had eleven children. His son Jan-Baptist Seghers (1624-1670) also became a painter. After 1630, his palette lightens up considerably and the influence of Peter Paul Rubens is noticeable in paintings like the Adoration of the Magi (1630) in the Church of Our Lady, Bruges.
DUVIVIER, Jan Bernard
b. 1762, Bruges, d. 1837, Paris
CATENA, Vincenzo
Italian Painter, ca.1480-1531 His paintings represent the perpetuation of the style of Giovanni Bellini into the second quarter of the 16th century. He made few concessions to the modern style that was being introduced to Venice by Titian, Palma Vecchio, Pordenone and others in the same period. This archaicizing tendency was shared by several minor Bellinesque painters of the period, including Pietro degli Ingannati, Pietro Duia, Francesco Bissolo, Vittore Belliniano and the Master of the Incredulity of St Thomas. Catena, together with Marco Basaiti, with whose works Catena's are sometimes confused, can be considered the most accomplished of these. Despite the fact that he counted several humanists in his circle, the extant repertory of his subjects is limited to religious themes, mainly Marian and including three altarpieces, and to male portraits.