(1605 - January 1638) was a Flemish genre painter active in Flanders and the Dutch Republic in the seventeenth century. At a young age Brouwer, probably born as Adriaen de Brauwer in Oudenaarde, moved perhaps via Antwerp to Haarlem, where he became a student of Frans Hals alongside Adriaen van Ostade. He also was active in stage acting and poetry. He stayed in Haarlem and Amsterdam until 1631, when he moved back to Antwerp in the Spanish Netherlands. There, he became a member of the Guild of St. Luke in 1631-1632, as well as the rhetoricians's chamber De Violieren. Tradition has it that Brouwer himself spent much time in the alehouses of Flanders and Holland. His works are typically detailed and small, and often adopt themes of debauchery, drunkenness and foolishness in order to explore human emotions, expressions and responses to pain, fear and the senses. The Bitter Tonic is an example of the type of work that depicts such responses, in this case the sense of taste. His work was well liked, to the point that forgeries were sold in his own time. Both Rubens and Rembrandt owned a number of his works. Nevertheless, Brouwer appeared in financial trouble throughout his life. He died at the early age of 32 in Antwerp, where he was first buried in a common grave.  Related Paintings of Adriaen Brouwer :. | Dune Landscape by Moonlight | Youth Making a Face | Zaporizhian Camp | Peasants Smoking and Drinking | The Bitter Draught |
Related Artists:
Perino Del Vaga
Italian Mannerist Painter, ca.1501-1547 Italian painter and draughtsman. He trained in Florence, first with Andrea de' Ceri and from the age of 11 with Ridolfo Ghirlandaio. According to Vasari, he practised drawing by copying Michelangelo's cartoon for the Battle of Cascina (destr.). For Pope Leo X's entry into Florence in November 1515 he painted an allegorical figure on one of the twelve triumphal arches. Soon after, an obscure Florentine painter called Vaga took Perino to Rome, where he became known as del Vaga. There he continued his drawing studies, copying from works of antiquity and Michelangelo's ceiling in the Sistine Chapel. On the recommendation of Giulio Romano and Giovanni Francesco Penni, he joined Raphael's workshop, where he learnt stuccowork and how to design grotesques, through assisting Giovanni da Udine in the Vatican Logge. Soon he was painting scenes from Raphael's designs, and five or six ceiling frescoes in the Logge, including the Story of Joshua and the Story of David, are generally accepted as his.
Eglon van der Neer
(1635/36, - May 3, 1703), was a Dutch painter of historical scenes, portraits and elegant, fashionable people, and later of landscapes. Van der Neer was born in Amsterdam and was probably first taught by his father, Aert van der Neer, who married in Amsterdam in 1629, coming from Gorinchem. Eglon had a least five brothers and sisters, who were baptized in the Nieuwe Kerk between 1640 and 1650. He took lessons from Jacob van Loo, who was then one of the foremost figure painters in Amsterdam. Around 1654 Van der Neer, who probably had just finished his education with Van Loo, traveled to Orange, Vaucluse in the South of France and entered the service of Friedrich von Dohna (1621-1688), Governor of the Principality of Orange. Van der Neer stayed for three or four years in Orange and returned to Amsterdam by the end of 1658. There he married in February Maria Wagensvelt, the daughter of a wealthy Rotterdam notary. In 1663 Van der Neer and his family moved to Rotterdam, where Adriaen van der Werff became his student. He stayed in Rotterdam until his wife died in 1677. In 1679 he moved to The Hague and in 1680 he became a member of the Confrerie Pictura there. Later that year he moved again, taking up his residence at Brussels, where he married the miniature painter Marie Du Chastel in the following year. She bore him nine children.
Guido Reni
1575-1642 Italian Guido Reni Galleries Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de?? Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style. By late 1601, Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601-1604, his main patron was cardinal Sfondrato. By 1604-1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607-1614, he was one of the painters patronized by Borghese. Abduction of Deianira, 1620-1621.Reni's frescoed ceiling of the large central hall of garden palace, Casino dell'Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese; the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale. The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman Sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne[5] in the Farnese. Reni in this painting is allies himself more with the sterner Cavaliere d'Arpino,Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616. He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino.