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8 January 1836 – 25 June 1912. Most renowned painters.

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GUARDI, Gianantonio
The Marriage of Tobias sdg

ID: 07214

GUARDI, Gianantonio The Marriage of Tobias sdg
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GUARDI, Gianantonio The Marriage of Tobias sdg


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GUARDI, Gianantonio

Italian Rococo Era Painter, ca.1699-1761   Related Paintings of GUARDI, Gianantonio :. | The Marriage of Tobias sdg | Madonna and Child with Saints kh | Holy Family with St John the Baptist and St Catherine gu | Tobit,Tobias and the Angel | Scene in a Harem |
Related Artists:
Willem Wissing
Willem Wissing, also known as William Wissing (1656 - 10 September 1687), was a Dutch portrait artist. He was born in either Amsterdam or The Hague, and studied at The Hague under Willem Doudijns (1630 - 97) and Arnoldus van Ravestyn (1615 - 90). In 1676, he moved to England, where he studied with and assisted Peter Lely. After Lely's death in 1680, Wissing emerged as his most important pupil. Godfrey Kneller was the only contemporary portrait artist in England to rival Wissing. Wissinges royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark and James Scott, 1st Duke of Monmouth.
Vrancke van der Stockt
painted Triptic del Judici Final. Visio tancada del triptic in 1460
VEEN, Otto van
Flemish painter (b. 1556, Leiden, d. 1629, Bruxelles). Flemish painter and draughtsman of Dutch birth. Although born in Holland, he is regarded as an artist of the Catholic southern Netherlands, where he spent most of his active life. He seems to have been acquainted with most of the Netherlandish scholars of his time, and his works testify to his broad humanistic learning. This and his prominent role in the early manifestations of the Counter-Reformation in Antwerp may have led Rubens to choose him as a teacher. Van Veen's importance as an artist has often been compared to the career of his famous pupil, for whom he was certainly the most important exemplar of the pictor doctus or learned painter. Van Veen obviously represents the older generation's more classicizing and conservative response to the Counter-Reformation. For him, the return to the spiritual values of the past also implied a recovery of the pictorial style of the High Renaissance, with its deliberate borrowings from the paintings of such artists as Raphael and Correggio.






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