1688-1751 John Smibert Gallery John Smybert (or Smibert) (1688 - 1751), Scottish American artist, was born in Edinburgh and died in Boston, Massachusetts. He studied under Sir James Thornhill, and in 1728 accompanied Bishop Berkeley to America, with the intention of becoming professor of fine arts in the college which Berkeley was planning to found in Bermuda. The college, however, was never established, and Smybert settled in Boston, where he married in 1730. In 1731 he painted "Dean George Berkeley and His Family," also called "The Bermuda group", now in the Yale University Art Gallery, Yale University, a group of eight figures; it is maintained that the person furthest to the left is actually the artist himself. He painted portraits of Jonathan Edwards and Judge Edmund Quincy (in the Boston Art Museum), Mrs Smybert, Peter Faneuil and Governor John Endecott (in the Massachusetts Historical Society), John Lovell (Memorial Hall, Harvard University), and probably one of Sir William Pepperrell; and examples of his works are owned by Harvard and Yale Universities, by Bowdoin College, by the Massachusetts Historical Society, and by the New England Historical and Genealogical Society. Portrait of Edmund Quincy, attributed to John Smybert Plaque at Granary Burying Ground in Boston commemorating SmybertBetween 1740-42, he served as architect for the original Faneuil Hall, which he designed in the style of an English country market. The hall burned down in 1761 but was restored, and then in 1806 greatly expanded and modified by Charles Bulfinch. His son Nathaniel was also a painter. Smybert lies in an unmarked grave in the Granary Burying Ground in Boston.  Related Paintings of John Smibert :. | Portrait of a Woman | Edward Winslow | Reverend Joseph Sewall | Edward Winslow | Portrait of George Berkeley |
Related Artists:
Sofonisba Anguisciola
1532?C1625, The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century.
Gregorio Lopes
Gregorio Lopes (c. 1490 - 1550) was one of the most important Renaissance painters from Portugal. Gregorio Lopes was educated in the workshop of Jorge Afonso, the court painter of King Manuel I. Later he himself became court painter for both Manuel I and for his successor, John III. In 1514 he married the daughter of Jorge Afonso, and in 1520 was knighted by Prince Jorge de Lencastre and entered the Order of Santiago. The work of Gregorio Lopes mainly consists of painted religious altarpieces for various churches and monasteries in central Portugal. Between 1520 and 1525 he worked (together with Jorge Leal) in painting altarpieces for the Saint Francis Convent of Lisbon. Also in the 1520s he painted panels for the Church of Paraeso (Paradise), also in Lisbon. In his first fase, Gregorio Lopes also worked in Sesimbra, Setebal and in the Monastery of Ferreirim, in this latter case together with Cristevao de Figueiredo and Garcia Fernandes. The painter moved in the 1530s to the city of Tomar, where he painted various panels for the Round Church of the Convent of Christ (1536 - 1539) and the main altarpiece of the Church of Saint John the Baptist (1538 - 1539). His last known works include altarpieces for the Convent of Santos-o-Novo in Lisbon (1540) and the Valverde Convent, near Évora (1545).
Jean-Louis Hamon
Plouha 1821 - Saint - Raphael, 1874. French Academic Painter, 1821-1874. Studied under Charles Gleyre. French Academic Painter, 1821-1874. Studied under Charles Gleyre. French painter and designer. He was encouraged to practise drawing by the Brothers of the Christian Doctrine at Lannion. Through the intervention of Felicite-Robert de Lamennais (1782-1854), he was made drawing-master at a religious seminary at Ploermel, Brittany, although at this stage he had received no instruction and had never seen an oil painting. In 1840 he asked his conseil general for help and left for Paris the following year with a grant of 500 francs. He went to Delaroche's studio, where he made friends with Picou, Jean-Leon Gereme, Jean Aubert (1824-1906) and Jean Eugene Damery (1823-53). Charles Gleyre, who took over Delaroche's studio in 1843, encouraged and protected him during years of poverty.