Netherlandish Northern Renaissance Painter, ca.1435-1494 Born in Seligenstadt, near Frankfurt in the Middle Rhein region, it is believed that Memling served his apprenticeship at Mainz or Cologne, and later worked in the Netherlands under Rogier van der Weyden (c. 1455?C1460). He then went to Bruges around 1465. There is an apocryphical story that he was a wounded at the Battle of Nancy, sheltered and cured by the Hospitallers at Bruges, and that to show his gratitude he refused payment for a picture he had painted for them. Memling did indeed paint for the Hospitallers, but he painted several pictures for them, in 1479 and 1480, and it is likely that he was known to his patrons of St John, prior to the Battle of Nancy. Memling is connected with military operations only in a distant sense. His name appears on a list of subscribers to the loan which was raised by Maximilian I of Austria, to defend against hostilities towards France in 1480. In 1477, when he was incorrectly claimed to have been killed, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges. This altarpiece, under the name of the Seven Griefs of Mary, is now in the Gallery of Turin. It is one of the fine creations of his more mature period. It is not inferior in any way to those of 1479 in the hospital of St. John, which for their part are hardly less interesting as illustrative of the master's power than The Last Judgment which can be found since the 1470s in the St. Mary's Church, Gda??sk. Critical opinion has been unanimous in assigning this altarpiece to Memling. This affirms that Memling was a resident and a skilled artist at Bruges in 1473; for the Last Judgment was undoubtedly painted and sold to a merchant at Bruges, who shipped it there on board of a vessel bound to the Mediterranean, which was captured by Danzig privateer Paul Beneke in that very year. This purchase of his pictures by an agent of the Medici demonstrates that he had a considerable reputation.  Related Paintings of Hans Memling :. | Portrait of an old woman. | St Andrew | Portrait of an old Woman | John the Baptist and st mary magdalen wings of a triptych (mk05) | St.Ursula Shrine |
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Jean Pierre Alexandre Antigna
1817-1878 French Jean Pierre Alexandre Antigna Gallery French painter. He was taught at the school of drawing in Orl?ans by a local painter, Fran?ois Salmon (1781-1855). On 9 October 1837 he entered the Ecole des Beaux-Arts in Paris, first in the atelier of Sebastien Norblin de la Gourdaine (1796-1884). A year later he became a pupil of Paul Delaroche, from whom he acquired his understanding of dramatic composition.
William Dobson
1610-1646 English William Dobson Locations William Dobson (March 4, 1610 ?C October 28, 1646) was a portraitist and one of the first notable English painters, praised by his contemporary John Aubrey as the most excellent painter that England has yet bred. Dobson was born in London the son of a decorative artist, and was apprenticed to William Peake and probably later joined the studio of Francis Cleyn. He is believed to have had access to the Royal Collection and to have copied works by Titian and Anthony Van Dyck, King Charles I chief painter. The colour and texture of Dobson work was influenced by Venetian art, but Van Dyck style has little apparent influence on Dobson. Van Dyck himself discovered Dobson when he noticed one of the young artists pictures in a London shop window. He introduced Dobson to the King, who had Dobson paint himself, his sons and members of the court. When Van Dyck died in 1641, Dobson probably succeeded him as sergeant-painter to the King, though proof is lacking. During the English Civil War Dobson was based at the Royalist centre of Oxford and painted many leading Cavaliers. His portrait of the future Charles II as Prince of Wales at the age of around twelve is a notable baroque composition, and perhaps his finest work. He also painted the Duke of York, Prince Rupert of the Rhine and Prince Maurice. Charles II when Prince of Wales, circa 1642 or 1643.Around sixty of Dobson works survive, mostly half-length portraits most of them dated from 1642 or later. The thick impasto of his early work gave way to a mere skim of paint, perhaps reflecting a wartime scarcity of materials. After Oxford fell to the Parliamentarians, in June 1646, Dobson returned to London. Now without patronage, he was briefly imprisoned for debt and died in poverty at the age of thirty-six. Dobson is regarded as a talented painter with a fine sense for colour and good powers of observation. However, an entirely English training such as Dobson could not be first rate in the early 17th century and he had technical weaknesses[citation needed]. There are examples of Dobson work at Tate Britain and the National Portrait Gallery in London and at several English country houses. The most comprehensive study of Dobson and his work is William Dobson, 1611?C1646 an exhibition catalogue written by M. Rogers for a 1983 exhibition at the National Portrait Gallery.
Robert Dodd
English Painter, 1748-1816, English painter and engraver. He exhibited at the Society of Arts from 1780 and at the Royal Academy, London, from 1782 to 1809. He had gained some reputation as a landscape artist by 1771 but soon concentrated on marine scenes. He became a ship portraitist and above all a prolific recorder of naval actions in the American and French Revolutionary wars such as the Sinking of the 'Vengeur de Peuple' at the Battle of the Glorious First of June, 1794 (1795; London, N. Mar. Mus.). He was also praised for his handling of storm scenes, notably a series depicting the loss of the Ramillies in the West Indies hurricane of September 1782 (1783-5; London, N. Mar. Mus.). His work was engraved by others but he also executed over 100 plates himself, mostly in aquatint, including views of the naval dockyards at Chatham, Woolwich and Deptford and also of the Thames at Blackwall and Greenwich, the last-named based on his oil painting of 1792 (London, N. Mar. Mus.).