Flemish painter (b. ca. 1544, Antwerpen, d. 1618, Antwerpen).   Related Paintings of FRANCKEN, Ambrosius :. | Supper at the House of Burgomaster Rockox dhe | Worship of the Golden Calf dj | Triumph of Amphitrite dfg | Feast of Esther dfh | The Seven Acts of Mercy dh |
Related Artists:
James Latham
James Latham (c. 1696 - 26 January 1747) was an Irish portrait painter. James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724 - 25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747. Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694-1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop Robert Clayton (1697-1758) and his wife Katherine.
LIPPI, Fra Filippo
Italian Early Renaissance Painter, ca.1406-1469 Filippo Lippi was born in Florence. He took his vows in 1421 in the monastery S. Maria del Carmine, where Masaccio frescoed the Brancacci Chapel in the church (1426-1427). By 1430 Lippi is mentioned in church documents as "painter." Masaccio's influence, as well as Donatello's, can be seen in Lippi's early works, such as the Tarquinia Madonna of 1437 (National Gallery, Rome) and the Annunciation (S. Lorenzo, Florence) and Barbadori Altar (Louvre, Paris), both begun in 1437/1438. However, the severity of Masaccio and Donatello was mitigated by Lippi, who was instrumental in salvaging from the Gothic past the lyrical expressiveness of a linear mode which Masaccio had all but given up for modeling in chiaroscuro. Toward the middle of the 15th century Lippi's pictures became more finely articulated and his surface design more complex. It is probable that he had a large workshop, and the hand of assistants may be observed in the important fresco decoration started in 1452 in the choir chapel of the Prato Cathedral. After delays and strong protests this commission was finally completed in 1466. The cycle, a highly important monument of Early Renaissance painting, demonstrates Lippi's increasingly more mature style, revealing him to be witty, original, and well versed in all the artistic accomplishments of his time, to which he himself contributed. Through linear perspective Lippi was able to render a convincing illusion of recession and plausible three-dimensional figures. He knew how to express emotions, and he was a keen observer of nature. Lippi painted astonishing portrait likenesses and combined figures and space with an animated surface rhythm, the best example of which can be seen in the Feast of Herod, one of the last scenes in the Prato cycle. During his stay at Prato he was the cause of a scandal (later resolved by papal indulgence): he ran off with a nun, Lucrezia Buti, who bore him two children, one of whom, Filippino Lippi (ca. 1457-1504), was also a painter. In the Prato frescoes as well as in his contemporary panel pictures, such as the Madonna with Two Angels (Uffizi Gallery, Florence), or in the exquisite tondo of the Madonna (Pitti Palace, Florence), Filippo Lippi anticipated later developments in 15th-century painting. In these pictures are to be found the sources of Sandro Botticelli, Lippi's most illustrious pupil. Lippi's innovations extended also to iconography. In his quest for realism he introduced the "bourgeoise" Madonna: the type of contemporary Florentine lady elegantly dressed in the fashion of the time with the hair on her forehead plucked to stress the height of it. He also introduced the subject of the Madonna adoring the Child in the woods (Museum of Berlin, and Uffizi, Florence).
Clarence a gagnon
Canadian Painter, 1881-1942 was a Quebecois painter. A native of Montreal, he studied at the Art Association of Montreal in 1897. Early in life, his mother had encouraged him to learn drawing and painting, but his father wanted him to become a businessman. Desiring to improve his knowledge about art, he went to the Academie Julian, Paris, and studied under Jean-Paul Laurens from 1904 to 1905. He then lived in Baie-Saint-Paul, where he produced many paintings depicting nature and the Canadian people. He invented a new kind of winter landscape that consisted of mountains, valleys, sharp contrasts, vivid colours, and sinuous lines. He became a member of the Royal Academy of the Arts in 1910. Gagnon took a trip to Venice, Rouen, Saint-Malo and the Laurentians to paint landscapes. He illustrated the pages of the novel Maria Chapdelaine by Louis Hemon. As well, he was the illustrator for Louis-Frederic Rouquette in 1929 in the white silence. He lived in France from 1924 to 1936. Gagnon opened modernity painting within Canada. He died in 1942. One of his disciples is the painter Rene Richard.