1685-1766 French Jean Marc Nattier Gallery Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Academie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as cold. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Academie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage). The Tsar offered Nattier work at the Russian court, but the artist declined the offer. He remained in Paris for the rest of his life.  Related Paintings of Jean Marc Nattier :. | Madame Henriette de France | Mlle | Marie Adelaide of France Represented as Diana | Madame Adelaide de France | Catherine I |
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RUYSCH, Rachel
Dutch Baroque Era Painter, 1664-1750 Dutch painter. She specialized in still-lifes of flowers and fruits and still-lifes in outdoor settings, the large majority signed, with dated examples from 1681 to 1747 providing a sound chronology. She is widely regarded as the most gifted woman in the history of the subject and among the greatest exponents of either sex. Ruysch came from a distinguished and wealthy background. Her father, Frederik Ruysch (1638-1731), was an eminent professor of anatomy and botany, who published his fine collection of natural curiosities. He was also a gifted amateur painter. Her mother was the daughter of the architect Pieter Post. At the age of 15 Ruysch became a pupil of Willem van Aelst until his death in 1683. In 1693 she married the portrait painter Juriaen Pool (1665-1745), a happy union that produced ten children. In 1709 the couple moved to The Hague, where both artists joined the Guild of St Luke. From 1708 to 1713 they were both court painters to the Elector Palatine, John William, at D?sseldorf, for whom they continued to work until his death in 1716. In that year they returned to Amsterdam, where Ruysch continued working until at least the age of 83.
Jules Arsene Garnier
painted Le Droit du Seigneur in1872
Jan Kupecky
(in German: Johann Kupetzky, in Hungarian: Kupecky Jenos, or Kupeczky Jenos, 1667, Bazin, Royal Hungary (today Slovakia) - 1740, Nernberg, Germany) was a Czech and Slovak portrait painter during the baroque. He was active in Hungary, Slovakia, Vienna and Nernberg. Kupecký, like many people at that time, was the son of Protestant (Czech Brethren) parents from the Czech lands (Mlade Boleslav) who sought refuge in Slovakia (constituting the core of Royal Hungary at that time) from religious persecution by the Catholics. He was born in Pezinok - a town near Bratislava. According to the sources he began his studies with the Swiss painter Benedikt Klaus, who was active in both Vienna and in Royal Hungary. At the age of twenty, Kupecký went on a long Italian study trip. In Rome Prince Aleksander Benedykt Sobieski, the son of the Polish king John III Sobieski, helped him to become famous. He returned to Vienna in 1709, after twenty-two years spent in Venice and Rome. We know very little of his Italian activity as well as his early works and his setting in Vienna. According to his contemporary biographer, the Swiss Johann Caspar Fessli, the Protestant Kupecký, who faithfully clung to his ancestor's religion, remained withdrawn and isolated in Vienna's Catholic milieu, which was under the influence of the court and the aristocracy. However this concept is partly contradicted by the fact that the master had significant courtly commissions while working in Vienna. He painted portraits of various members of the dynasty, Prince Eugene of Savoy, several aristocrats, and, in Karlovy Vary, even of the Russian Czar Peter I. The rich ceuvre of this period comprises a series of gorgeous portraits of Kupecky's family, friends and the painter himself, as well as several persons, whose identity in unknown. In 1733 Kupecký, fearing religious persecution, fled from Vienna to Nernberg with his family and worked there until his death in 1740. As the most significant portrait painter of contemporary Germany, he was commissioned by a large number of German princes, church dignitaries rich merchants and scholars, and his works were popularized by engravings even during his lifetime. Through his pupils and followers Kupecký's influence and artistic example remained alive and widespread for a long time.