Flemish Baroque Era Painter, ca.1561-1636 was an artist of the Tudor court, described as "the most important artist of quality to work in England in large-scale between Eworth and Van Dyck" He was brought to England as a child by his father Marcus Gheeraerts the Elder, also a painter. He became a fashionable portraitist in the last decade of the reign of Elizabeth I under the patronage of her champion and pageant-master Sir Henry Lee, introducing a new aesthetic in English court painting that captured the essence of a sitter through close observation. He became a favorite portraitist of James I's queen Anne of Denmark, but fell out of fashion in the later 1610s. Marcus Gheeraerts the Younger was the son of the artist Marcus Gheeraerts the Elder and his wife Johanna. Hardly anything is known of the paintings of the elder Gheeraerts, although his work as a printmaker reached around Europe. Like other Protestant artists, Gheeraerts the Elder fled to England with his son to escape persecution in the Netherlands under the Duke of Alva. His wife was a Catholic and remained behind; she is assumed to have died a few years later. Father and son are recorded living with a Dutch servant in the London parish of St Mary Abchurch in 1568. On 9 September 1571, the elder Gheeraerts remarried. His new wife was Susanna de Critz, a member of an exiled family from Antwerp. It is uncertain by whom young Marcus was trained, although it is likely to have been his father; he was possibly also a pupil of Lucas de Heere. Records suggest that Marcus was active as a painter by 1586 In 1590 he married Magdalena, the sister of his stepmother Susanna and of the painter John de Critz.  Related Paintings of GHEERAERTS, Marcus the Younger :. | Portrait of Mary Rogers: Lady Harrington dfg | Portrait of Lady Anne Ruhout df | Portrait of Helena van der Schalcke | Portrait of Queen Elisabeth dfg | Portrait of a Woman sdg |
Related Artists:
TASSEL, Jean
French Baroque Era Painter, ca.1608-1667 Son of Richard Tassel, with whose works his own were for a long time confused. He trained with his father and by 1634 was recorded in Rome, where he came into contact with his fellow Frenchmen Claude Lorrain, Nicolas Poussin and Sebastien Bourdon. Like the last he was influenced by the Bamboccianti, and he painted a number of low-life genre scenes at this period; these include Singers in a Tavern (Kassel, Schloss Wilhelmshehe) and Travellers Attacked (Warsaw, N. Mus.). He had returned to Langres by 1647, the date of his marriage, and continued to paint genre pictures after this, such as The Sawyers (Strasbourg, Mus. B.-A.) and The Marauders (Langres, Mus. St Didier). Other influences from Rome include Caravaggio, strong in a picture such as the Fortune-teller (sold Paris, Drouot, 1 April 1987, ) but far less apparent in the Presentation of the Infant Jesus (Dijon, Mus. B.-A.) and Tobias and the Angel (Dijon, Mus. B.-A.). However, the most lasting influence was that of the Romano-Bolognese school, seen in later pictures such as the Annunciation
Petere Lely
painted Julia Fasey, Lady Crewe in 17th century
MONNOYER, Jean-Baptiste
French Baroque Era Painter, ca.1634-1699