1603-1677 Dutch Although generally known by the name of Aert, he usually signed himself Aernout. According to Houbraken, van der Neer spent his youth in Arkel near Gorinchem (Gorkum), a town on the river Waal, east of Dordrecht, where he worked as a majoor (steward) for the lords of Arkel. He became an amateur painter, possibly as a result of his contact with the Camphuyzen brothers Rafael Govertsz. (1597/8-1657) and Jochem Govertsz. (1601/2-59). Aert married Lysbeth Govertsdr (Liedtke) who was almost certainly Rafael and Jochem sister. Rafael acted as witness at the baptism of their daughter Cornelia in 1642. Around 1632 van der Neer and his wife moved to Amsterdam where, in about 1634, their eldest son, Eglon, was born.  Related Paintings of Aert van der Neer :. | Hollandische Kanallandschaft bei Mondschein mit Schlittschuhlaufern und einem Lagerfeuer, an dem sich Bauern warmen | Sports on a Frozen River | Landscape with Windmill | River Scene with Fishermen | Moonlit River |
Related Artists:
Georg Anton Rasmussen
1842-1914 paint Norsk fjordlandskap
J.Thornthwaite
British.fl.late eighteenth century
Jean Baptiste Greuze
1725-1805 French Jean Baptiste Greuze Galleries French painter and draughtsman. He was named an associate member of the Academie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Simeon Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Francois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litteraire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850, when 18th-century painting returned to favour, by such critics as Th?ophile Thore, Arsene Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huiti?me siecle. By the end of the century Greuze's work, especially his many variations on the Head of a Girl, fetched record prices, and his Broken Pitcher (Paris, Louvre) was one of the most popular paintings in the Louvre. The advent of modernism in the early decades of the 20th century totally obliterated Greuze's reputation. It was only in the 1970s, with Brookner's monograph, Munhall's first comprehensive exhibition of the artist's work, increased sale prices, important museum acquisitions and fresh analyses of his art by young historians, that Greuze began to regain the important place that he merits in the history of French art of the 18th century.