(November 4, 1592 - April 27, 1656), also known as Gerrit van Honthorst and Gherardo della Notte, was a Dutch painter of Utrecht. He was brought up at the school of Abraham Bloemaert, who exchanged the style of the Franckens for that of the pseudo-Italians at the beginning of the 16th century. Margareta Maria de Roodere and Her Parents by Gerrit van Honthorst (1652) Oil on canvas, 140 x 170 cm. Centraal Museum, UtrechtInfected thus early with a mania which came to be very general in the Netherlands, Honthorst went to Italy in 1616, where he copied the naturalism and eccentricities of Michelangelo da Caravaggio. Home again about 1620, after acquiring a considerable practice in Rome, he set up a school at Utrecht which flourished exceedingly. Together with his colleague Hendrick ter Brugghen, he represented the so-called Dutch Caravaggisti. In 1623 he was president of his gild at Utrecht, where he had married his cousin. He soon became so fashionable that Sir Dudley Carleton, then English envoy at The Hague, recommended his works to the earl of Arundel and Lord Dorchester. In 1626 he received a visit from Rubens, whom he painted as the honest man sought for and found by Diogenes.  Related Paintings of Gerard van Honthorst :. | Young Drinker | The Concert | Frederick Henry, Prince of Orange, with His Wife Amalia van Solms and Their Three Youngest Daughters | St Peter Released from Prison. At the Staatliche Museen, Berlin. | Frederik Hendrik (1584 - 1647), prince of Orange |
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El Lissitzky
Russian 1890-1941 He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th century graphic design. El Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). A Jew, he began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its anti-semitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works ?? a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany.
Thomas Dewing
(May 4, 1851 C November 5, 1938) was an American painter working at the turn of the 20th century. He was born in Newton Lower Falls, Massachusetts. He studied at the Acad??mie Julian in Paris, and later settled into a studio in New York City. He married Maria Oakey Dewing, an accomplished painter with extensive formal art training and familial links with the art world. He is best known for his tonalist paintings, a sub-genre of American art that was rooted in English Aestheticism. Dewing's preferred vehicle of artistic expression is the female figure. Often seated playing instruments, writing letters, or engaged in other impassive actions and situated in gauzy, dreamy interiors, the figures remain remote and distant to the viewer. These scenes are infused with a color that pervades the entire picture, setting tone and mood. The ethereal delicacy and subtle color harmonies of Dewing's paintings have not met with universal approval: some feminist critics have lambasted Dewing's work as being misogynistic; he rarely painted anything other than the female figure, vacant of expression, languishing in sumptuous clothing. Tonalism quickly came to be considered outdated with the advent of modernism and abstraction in art, though Dewing was successful in his own day. His art was considered extremely elegant, and has undergone a subtle revival in the last 10 years or so. Dewing was a member of the Ten American Painters, a group of American Impressionists who seceded from the Society of American Artists in 1897.
Nasi
Italian, 19th century Born in the town of Castel del Piano, near Grossetto, Giuseppe Nicola Nasini trained under Ciro Ferri at the Accademia Medicea in Rome in the early 1680??s. He also studied at the Accademia di San Luca, where he won several prizes, and later worked extensively in Rome. In 1689 he entered the service of the Grand Duke Cosimo III de?? Medici in Florence, for whom he painted a series of four large canvases on the theme of the Last Judgement for the Salone dei Novissimi of the Palazzo Pitti, executed between 1690 and 1694. Transferred at the end of the 18th century to a church in Siena, these are now lost. In the first quarter of the 18th century Nasini painted a number of works for churches in Rome, including an altarpiece of The Madonna and Child with Saints for the Chiesa dei Re Magi in 1707, and a Baptism of Christ for San Lorenzo in Lucina, completed in 1716. In 1718 Nasini was one of twelve leading painters working in Rome (including Benedetto Luti, Francesco Trevisani, Sebastiano Conca and Pier Leone Ghezzi) who were commissioned by Pope Clement XI to paint seated prophets in the oval niches of the nave of the basilica of San Giovanni in Laterano. One of Nasini??s last Roman works was a frescoed Glory of Saint Anthony for the church of SS. Apostoli, painted between 1721 and 1722. By the late 1720??s Nasini had risen to a position as the leading painter in Siena, where he headed a large and busy workshop. In such works as the decoration of the Oratorio del Crocifisso and the church of the Visitation he introduced the Baroque manner of Luca Giordano to his native city. His older brother Antonio was also a painter; the two collaborated on the decoration of the vault of the church of San Gaetano di Thiene in Siena, completed in 1734.