1566-1638 Flemish Joachim Wtewael Galleries Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest (from the imagination) and naer t leven (after life). Wtewaels activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate; he also painted several portraits, including a Self-portrait (1601; Utrecht, Cent. Mus.).  Related Paintings of Joachim Wtewael :. | Supper at Emmaus | Perseus and Andromeda (mk05) | Lot and His Daughter | the Gods-Joachim Wtewael | Charity |
Related Artists:
BOTH, Jan
Dutch painter (b. ca. 1618, Utrecht, d. 1652, Utrecht Brother of Andries Both. He was one of the foremost painters among the second generation of DUTCH ITALIANATES. While working in Italy he specialized in genre scenes; however, on his return to the Netherlands he concentrated on wooded landscapes bathed in a golden light that illuminates the highly detailed foliage and trees. These realistic landscapes represent his most original contribution to Dutch painting and were much imitated by his contemporaries and by later artists.
Nicolae Grigorescu
Romanian Painter, 1838-1907 From 1848 he trained in Bucharest with various church painters, producing icons and religious mural decorations. These works, which soon attracted attention, were influenced in style by the Viennese classicism widespread in the Romanian principalities in the early 19th century and by the Italian academicism established there after 1850 by Gheorghe Tattarescu. The earliest of his known paintings are in the church of SS Constantin and Elena at Baicoi, where his signature can be seen beside that of Nita Pereescu on the icon of St George (1853). He subsequently painted a series of icons (1854-5) at Caldarusani Monastery. In the later ensembles he was assisted by his older brother Georghe Grigorescu, who participated under his direction in the decoration of churches, such as those of the Zamfira (1856-8) and Agapia (1858-60) monasteries. In Nicolae's paintings at Agapia, classicism in Romanian art reached its highest point. The royal icons are distinguished for the elegance of the figures, both in their attitudes and in their drapery.
Rosa Bonheur
1822-1899 Realism,French,French painter and sculptor. She received her training from her father, Raymond Bonheur (d 1849), an artist and ardent Saint-Simonian who encouraged her artistic career and independence. Precocious and talented, she began making copies in the Louvre at the age of 14 and first exhibited at the Salon in 1841. Her sympathetic portrayal of animals was influenced by prevailing trends in natural history (e.g. Etienne Geoffroy Saint-Hilaire) and her deep affinity for animals, especially horses. Bonheur's art, as part of the Realist current that emerged in the 1840s, was grounded in direct observation of nature and meticulous draughtsmanship. She kept a small menagerie, frequented slaughterhouses and dissected animals to gain anatomical knowledge. Although painting was her primary medium, she also sculpted, or modelled, studies of animals, several of which were exhibited at the Salons, including a bronze Study for a Bull and Sheep .