Scottish Landscape painter ,1805-1867 Scottish painter. He was trained in the studio of the Glasgow landscape painter John Knox (1778-1845) and at first earned his living as a decorative painter. By the early 1830s McCulloch's exhibits with the Glasgow Dilettanti Society and with the Royal Scottish Academy had begun to attract buyers, notably the newly instituted Association for the Promotion of the Fine Arts in Scotland. Commissions from book and print publishers allowed him to concentrate on easel painting. On his election as full Academician of the Scottish Academy in 1838, McCulloch settled in Edinburgh and soon became a prominent figure in the artistic life of the capital and a prolific contributor to the Royal Scottish Academy exhibitions. At the same time contact with Glasgow was maintained: McCulloch's favourite sketching grounds were in the west, he exhibited regularly in the city and his most loyal patrons were wealthy Glasgow industrialists such as David Hutcheson (1799-1881), the steamship owner. He seldom exhibited outside Scotland and only once at the Royal Academy, London (1843), but he kept in touch with London artist-friends, John Phillip, David Roberts and John Wilson (1774-1855), through correspondence and visits. His own art collection was evidence of his admiration for 17th-century Dutch painters, for J. M. W. Turner and Richard Wilson.  Related Paintings of Horatio Mcculloch :. | Angels | Portrait of Ferry Carondelet with his Secretaries | The arrival of King Charles II of England in Rotterdam, 24 May 1660. | The Red Vineyard (nn04) | Garden of an Inn,Capri |
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Eugne Joseph Verboeckhoven
(1790-1881), Belgian painter, was born at Warneton in West Flanders, and received instruction in drawing and modelling from his father, the sculptor Barthelemy Verboeckhoven. Subsequently he settled in Brussels and devoted himself almost exclusively to animal subjects. Shepherd with animals in the countryside attributed to Eugene Verboeckhoven - private collectionHis paintings of sheep, of horses and of cattle in landscape, somewhat after the manner of Paulus Potter, brought him universal fame, and were eagerly sought for by collectors. Precise and careful finish is the chief quality of his art, which is entirely objective and lacking in inspiration. Verboeckhoven visited England in 1826, Germany in 1828, and France and Italy in 1841, and died at Brussels in 1881. He was a member of the academies of Brussels, Ghent, Antwerp, St. Petersburg and Amsterdam. Examples of his art are to be found in nearly all the important galleries of Europe and the United States, notably in Brussels, Antwerp, Amsterdam, Hamburg, Berlin, Munich, New York, Boston and Washington D.C.. His long life and ceaseless industry account for the enormous number of his pictures in public and private collections and in the art market. In addition to his painted work he executed some fifty etched plates of similar subjects.
Pontormo
Italian Mannerist Painter, 1494-ca.1556 Italian painter and draughtsman. He was the leading painter in mid-16th-century Florence and one of the most original and extraordinary of Mannerist artists. His eccentric personality, solitary and slow working habits and capricious attitude towards his patrons are described by Vasari; his own diary, which covers the years 1554-6, further reveals a character with neurotic and secretive aspects. Pontormo enjoyed the protection of the Medici family throughout his career but, unlike Agnolo Bronzino and Giorgio Vasari, did not become court painter. His subjective portrait style did not lend itself to the state portrait. He produced few mythological works and after 1540 devoted himself almost exclusively to religious subjects. His drawings, mainly figure studies in red and black chalk, are among the highest expressions of the great Florentine tradition of draughtsmanship; close to 400 survive, forming arguably the most important body of drawings by a Mannerist painter.
Jean Ranc
French portraits painter, 1674-1735 French painter, active also in Spain. His father was the painter Antoine Ranc (1634-1716), under whom he must have trained. From 1697 he lived in Paris, where he continued his apprenticeship in Hyacinthe Rigaud's studio. After working for some years as Rigaud's assistant, he joined the Academie Royale de Peinture et de Sculpture in Paris in 1703 and reached the rank of academician as a portrait painter in 1707. As Rigaud's protege he worked for the French court, painting portraits of Louis XV (1718; Versailles, Cheteau) and almost certainly other members of the royal family as well as of the aristocracy. He also painted some allegorical and mythological works, such as Vertumnus and Pomona