Jacques-Louis David, France Neoclassicism painter, b.1748 - d.1835. Jacques-Louis David is famous for his huge, dramatic canvasses of Napoleon and other historical figures, including Oath of the Horatii (1784), Death of Marat (1793) and The Sabine Women (1799). Early in his career he was a leader in the neoclassical movement; later his subjects became more modern and political. David was himself active in the French Revolution as a supporter of Robespierre and is sometimes called the chief propagandist for the Revolution; after the Reign of Terror ended he was briefly imprisoned for his actions. When Napoleon took power David became his court painter and created several grand canvasses of the Emperor, including the heroic Napoleon Bonaparte Crossing the Alps (1801) and the enormous Coronation of Napoleon and Josephine (1807).   Related Paintings of Jacques-Louis David :. | Leonidas at Thermopylae | The death of Marat | Portrait of the Countess Vilain XIIII and her Daughter Louise | Louis David Portrait Of A Young Woman In A Turban | Madame Recamier |
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Thomas Beach
British Painter, 1738-1806,English painter. He studied with Joshua Reynolds from 1760 until early in 1762, during which time he was also a student at the St Martin's Lane Academy, London. He probably settled in Bath; his recorded portraits of the 1760s are all of sitters from Dorset or Somerset, and he sent two portraits from an address in Bath to the Society of Artists exhibition of 1772. He exhibited with the Society until 1783, becoming its vice-president (1782) and president (1783) he also exhibited at the Royal Academy (1785-90, 1797). He probably divided his mature practice between London and Bath. His early reliance on Reynolds's ideas of propriety gave way to a more direct approach, seen at its best in such group portraits as The Stapleton Family (1789; U. Bath, Holburne of Menstrie Mus.). In this work, the four children are shown in costume, as a fortune-teller and her customers. The theatrical element in Beach's work, reflecting his interest in the stage, is seen most strikingly in Sarah Siddons and John Philip Kemble in 'Macbeth' Act 2, Scene ii (1786; London, Garrick Club). Beach's diary for 1798, the only one to have survived, chronicles what appears to have been an annual tour of the west country; that year he completed 31 portraits between June and December. Beach was able to capture a strong likeness and this, despite a certain naivety and awkwardness in composition, was enough to establish his reputation in moderately fashionable provincial circles. His last recorded work is a Self-portrait
BOSSCHAERT, Ambrosius the Elder
Dutch Baroque Era Painter, 1573-1621 Painter and dealer. He left Antwerp with his parents c. 1587 because as Protestants they were vulnerable to religious persecution; the family moved to Middelburg, where in 1593 Ambrosius became a member of the Guild of St Luke, of which he served as Dean on several occasions (1597, 1598, 1603, 1604, 1612 and 1613). In 1604 he married Maria van der Ast, the sister of Balthasar van der Ast who later became his pupil and possible collaborator. Bosschaert bought a house in Middelburg in 1611. There are flower-pieces by Bosschaert that are signed (with a monogram) and dated between 1605 and 1621, though there were two periods of artistic inactivity, in 1611-13 and 1615-16, when he was probably more active as a dealer in the art of both Dutch and foreign artists (e.g. Veronese and Georg Flegel). He was recorded in Bergen-op-Zoom in 1615 and became a citizen of Utrecht in 1616, where his name appears in the register of the Utrecht Guild of St Luke for the same year. In 1619 he was involved in a court case in Breda, where he lived from that year. He died during a journey to The Hague.
NOVELLI, Pietro
Italian Baroque Era Painter, 1603-1647 Italian painter. He trained with his father, Pietro Antonio Novelli (1568-1625), a painter and mosaicist, then in 1618 in Palermo with Vito Carrera (1555-1623). He also studied perspective with the mathematician Carlo Maria Ventimiglia. Paolini (1980) suggested that in his early years Novelli may have contributed, with Domenico Fiasella and Nicolas Tournier, to a cycle of paintings in the oratory of S Stefano in Palermo and that he made a first journey to Rome between 1622 and 1625. His first dated work is from 1626: St Anthony Abbot (Palermo, S Antonio Abate). The development of his style owed much to Anthony van Dyck, who visited Sicily in 1624 and whose altarpiece, the Madonna of the Rosary (Palermo, oratory of S Maria del Rosario), was of fundamental importance to Novelli. Van Dyck's influence, which remained with Novelli throughout his career, is most apparent in the Death of the Just Man (Palermo, Gal. Reg. Sicilia), the Apparition of the Virgin to St Andrea Corsini (1630; Palermo, Chiesa del Carmine) and the Coronation of the Virgin