1620-1691 Dutch Aelbert Cuyp Locations Painter and draughtsman, son of Jacob Cuyp. One of the most important landscape painters of 17th-century Netherlands, he combined a wide range of sources and influences, most notably in the application of lighting effects derived from Italianate painting to typical Dutch subjects. Such traditional themes as townscapes, winter scenes, cattle pieces and equestrian portraits were stylistically transformed and given new grandeur. Aelbert was virtually unknown outside his native town, and his influence in the 17th century was negligible. He became popular in the late 18th century, especially in England.  Related Paintings of Aelbert Cuyp :. | Flock of sheep at pasture | Landscape with herdsman and cattle | An Evening Landscape (mk25) | Ruhepause im Lager | Lady and Gentleman on Horseback |
Related Artists:
Moore, Albert Joseph
English Classicist Painter, 1841-1893 He showed precocious artistic talent as a child and entered the Royal Academy Schools in London in 1858. His early work shows a Pre-Raphaelite influence common to his generation. The watercolour Study of an Ash Trunk (1857; Oxford, Ashmolean) is very Ruskinian in its precise handling of naturalistic detail. Moore made two visits abroad: in 1859 to France with the architect William Eden Nesfield and in the winter of 1862-3 to Rome with his brother John Collingham Moore. Elijah's Sacrifice (1863; exh. RA 1865; Bury St Edmunds, A.G.), one of Moore's earliest large-scale oil paintings, was executed while he was in Rome. Its biblical subject and sombre tone are typical of his output in the early 1860s and relate to the work of Ford Madox Brown and Edward Armitage.
Dufy Raoul
Le Havre 1877-Forcalquier 1953 was a French Fauvist painter. He developed a colourful, decorative style that became fashionable for designs for ceramics, textiles and decorative schemes for public buildings. He is noted for scenes of open-air social events. Raoul Dufy was born at Le Havre, in Normandy, one of a family of nine members. He left school at the age of 14 to work in a coffee importing company. In 1895 when he was 18, he started evening classes in art at Le Havre Ecole des Beaux-Arts. He and Othon Friesz, a school friend, studied the works of Eug??ne Boudin in the museum in Le Havre. Raoul Dufy, Regatta at Cowes, (1934), Washington D.C. National Gallery of Art.In 1900, after a year of military service, Raoul won a scholarship enabling him to attend the Ecole Nationale des Beaux-Arts in Paris, where he was a fellow student with Georges Braque. The impressionist landscapists, such as Claude Monet and Camille Pissarro, influenced him. Introduced to Berthe Weill in 1902, she showed his work in her gallery. Henri Matisse's Luxe, Calme et Volupte, which Dufy saw at the Salon des Independants in 1905, was a revelation to the young artist and directed his interest towards Fauvism. Les Fauves (wild beasts) emphasised bright colour and rich bold contours in their work, and Dufy's painting reflects this approach until about 1909, when contact with the work of Paul Cezanne led him to adopt a somewhat subtler technique.
ANTONIAZZO ROMANO
[Italian Early Renaissance Painter, 1430-ca.1510 Antoniazzo was born in the Colonna quarter of Rome. He was influenced at first by the decorative manner of Benozzo Gozzoli and Beato Angelico, as well as by the local painters of Lazio. His first recorded work is from 1461, a replica (untraced) of the miraculous Virgin and Child of St. Luke in the Basilica of Santa Maria Maggiore of Rome, for the seignior of Pesaro, Alessandro Sforza. From 1464 he worked for the papal court, producing at first a triptych of the Virgin and Child with Saints in Rieti. In 1467 he completed the decoration of the funerary chapel of Cardinal Bessarion in the church of Santi Apostoli of Rome, not far from his birthplace. In the centre of the decoration was an icon of the Virgin, now in the Chapel of St Anthony, a copy of the Byzantine icon in the Santa Maria in Cosmedin, the church of the Greeks in Rome. This icon in the Santi Apostoli is one of the most remarkable examples of Antoniazzo's considerable production of Virgins, generally taken from Byzantine models: he was indeed a much sought-after copier of icons. Later he worked to a series of frescoes in the Monastery of Tor de' Specchi in Rome, featuring stories of the life of S. Francesca Romana, and to the decoration of the public rooms of the Palazzo Venezia. In the 1470s Antoniazzo worked to the decoration of the Vatican Palace with artists like Perugino, Melozzo da Forl?? and Ghirlandaio. Through their influence his figures acquired gentler expressions and their garments were ornamented with decorative patterns, though always retaining several Medieval features. Together with Melozzo he worked to frescoes in Santa Maria sopra Minerva, and subsequently painted for that church a famous Annunciation (1482). The painting shows the Dominican Juan de Torquemada (cardinal) (d. 1468) presenting poor girls dowered by the guild of the Annunciation that he founded to the Virgin Mary. In the years between 1475 and 1480 Antoniazzo's production of altarpieces and panels with images of the Virgin increased as a result of the encouragement of the cult of the Virgin by Pope Sixtus IV. His later works show an increasing mannerism in their features, which were later imitated by several painters, whose works had been often attributed to the master. Antoniazzo was one of the three founders of the Compagnia di San Luca, the guild of painters and illuminators in Rome, and signed the statutes in 1478.