Flemish Baroque Era Painter, 1599-1641 Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck's studies in oil of characterful heads were included in Rubens's estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone;   Related Paintings of DYCK, Sir Anthony Van :. | Charles I on Horseback fg | Diana Cecil, Countess of Oxford | Portrait of the Artist Marten Pepijn dfg | Susanna and the Elders dfg | Marchesa Elena Grimaldi fg |
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C.R. Leslie
English genre painter , 1794-1859 was an American artist best known for his cartoons and caricatures of actors and other celebrities. Though his work was heavily in demand through the 1920s and is often considered to epitomize the era, his personal life was troubled by mental illness, and he was nearly forgotten soon after his suicide, shortly before his fortieth birthday. English genre painter, was born in London on 19 October 1794. His parents were American, and when he was five years of age he returned with them to their native country. They settled in Philadelphia, where their son was educated and afterwards apprenticed to a bookseller. He was, however, mainly interested in painting and the drama, and when George Frederick Cooke visited the city he executed a portrait of the actor from recollection of him on the stage, which was considered a work of such promise that a fund was raised to enable the young artist to study in Europe. He left for London in 1811, bearing introductions which procured for him the friendship of West, Beechey, Allston, Coleridge and Washington Irving, and was admitted as a student of the Royal Academy, where he carried off two silver medals. At first, influenced by West and Fuseli, he essayed high art, and his earliest important subject depicted Saul and the Witch of Endor; but he soon discovered his true aptitude and became a painter of cabinet-pictures, dealing, not like those of David Wilkie, with the contemporary life that surrounded him, but with scenes from the great masters of fiction, from Shakespeare and Cervantes, Addison and Moliere, Swift, Sterne, Fielding and Smollett. Of individual paintings we may specify Sir Roger de Coverley going to Church (1819); May-day in the Time of Queen Elizabeth (1821); Sancho Panza and the Duchess (1824); Uncle Toby and the Widow Wadman (1831); La Malade Imaginaire, act iii. sc. 6 (1843); and the Dukes Chaplain Enraged leaving the Table, from Don Quixote (1849).
jeremy collier
1650 C 1726, English clergyman. Collier was imprisoned as one of the nonjurors, who refused to pledge allegiance to William III and Mary II. He later was outlawed (1696) for absolving on the scaffold two of those involved in the assassination plot against William. Collier's principal fame comes from his Short View of the Immorality and Profaneness of the English Stage (1698) and Ecclesiastical History of Great Britain (1708, 1714). In 1713 he was ordained a nonjuring bishop.
Paul-Elie Dubois
1886-1949