(1667, Toulouse - 1735) was a French painter. The son of Jean-Pierre Rivalz (who painted and designed the city's hôtel de ville), Antoine was the official painter to the town of Toulouse, a talented portraitist of the society of the city in the 18th century. He also produced a large number of drawings. Antoine Rivalz began his training in the studios of his father Jean-Pierre, the sculptor Marc Arcis and the artist Raymond Lafage. In his training, he was particularly interested in studying classical works and the Baroque Italian masters. From 1685 to 1687 he trained at the Academie royale de peinture et de sculpture in Paris. On his return to Toulouse he received his first two commissions. In 1687 he set out for Rome, where he stayed for more than ten years. In 1694 he won second prize at the Accademia di San Luca with a drawing of The fall of the giants, with first prize going to Antonio Balestra and Felice Nardi. In Rome he became friends with other artists such as Carlo Maratta, Luigi Garzi and Benedetto Luti, and was more and more in demand for commissions from families in both Rome and Toulouse. In 1703, he returned to Toulouse and was made painter of the city's hôtel de ville, a post he held until his death. Supported by an important studio, he received a large number of commissions - commemorative paintings, paintings of ordinance and armour, architectural projects, restorations. This post, however, allowed him above all to forge productive relations with the city's upper classes and benefit from a near-monopoly on public, religious and private commissions in the city. He married his first cousin Louise Rivalz, with whom he had six children, including the future artist Pierre Rivalz, known as the "chevalier Rivalz". In 1726 he set up Toulouse's first art school and in 1750 letters patent from Louis XV turned it into the Academie royale de peinture et de sculpture de Toulouse, the only one in France (after that in Paris) to be allowed to bear that title.   Related Paintings of Antoine Rivalz :. | Verwachsener pond | Wall painting from Herculaneum showing in highly impres sionistic style the bringing of offerings to Dionysus | Portrait of Giovanni Arnolfini and his Wife (detail) dg | Deer in the Forest i (mk34) | figures |
Related Artists:
George L. Seymour
British, act. 1876 - 1916 Seymour was a son of Lord Hugh Seymour (himself a son of Francis Seymour-Conway, 1st Marquess of Hertford) and Anna Horatia Waldegrave (a daughter of James Waldegrave, 2nd Earl Waldegrave) and entered the Royal Navy in 1797. He captained HMS Pallas during the Battle of Basque Roads and HMS Leonidas and HMS Fortun??e during the War of 1812. For his part in the latter war, he was appointed a CB in 1815 (alongside many other Captains) and a KCH in 1831 (and later a GCH in 1834). He rose through the ranks in the navy over the years and in 1852 was appointed a KCB (and later a GCB in 1860) and finally as an Admiral of the Fleet in 1866.
Ulrika Pasch
(10 July 1735 - 2 April 1796), also known as Ulla Pasch, was a Swedish painter and miniaturist. She was one of few female artists known in Scandinavia before the 19th century. She was a member of the Royal Swedish Academy of Arts (1773). Ulrika Pasch was born in an artistic family, daughter of the painter Lorens Pasch the Elder, and sister of the future painter Lorens Pasch the Younger. Her uncle, Johan Pasch, was also a painter. In the 1750s, when her brother was studying art abroad, her father's career declined severely, and Ulrika was forced to become a housekeeper in the home of her maternal aunt's widower. Her uncle however allowed her to spend a lot of time developing her artistic talent, and from 1756, she had become a professional portrait painter and was able to support her father and her sister in this way. After her father's death, she lived with her sister and set up her own studio. When her brother returned to Sweden in 1766, she had been a professional artist for ten years and her clientele had moved from the middle class to the upper classes and the aristocracy. Ulrika Pasch and her brother then worked together as professional artists, shared their studio and guided each other in their work; their collaboration was one of mutual respect and harmony, and she is known to have helped him painting the textiles and costumes, a work he found tiring. Their baby-sister Helena Sofia (1744-96) took care of their household; she is described as somewhat talented in art as well, but she spent her life as her siblings "dutiful" house-keeper, and is said to have been deeply devoted to especially Ulrika.
Antoine Wiertz
Belgian Painter, 1806-1865 Belgian painter and sculptor. He was from very humble origins, but his talent for drawing was detected at an early age. He was sent to the Antwerp Academie, where he attended classes given by W. J. Herreyns (1743-1827) and Mathieu Ignace Van Br?e. During a stay in Paris from 1829 to 1832 he came into contact with the Romantic painters, in particular Th?odore G?ricault, who fostered his admiration for Rubens. In 1832 he won the Belgian Prix de Rome and in 1834 left for Italy where the works of Raphael and, above all, Michelangelo made an overwhelming impression on him. In Rome he abandoned the landscapes and scenes from Roman life, for which he showed a certain talent, and embarked on a much more ambitious work, the Greeks and the Trojans Contesting the Body of Patroclus (1835; Brussels, Mus. Wiertz.). The painting proved the turning-point in Wiertz's career. Its frenzied composition and violently contorted figures excited considerable interest in Rome.