English Pre-Raphaelite Painter, 1849-1917
English painter. His father was a minor English painter working in Rome. Waterhouse entered the Royal Academy Schools in London in 1870. He exhibited at the Society of British Artists from 1872 and at the Royal Academy from 1874. From 1877 to the 1880s he regularly travelled abroad, particularly to Italy. In the early 1870s he had produced a few uncharacteristic Orientalist keepsake paintings, but most of his works in this period are scenes from ancient history or classical genre subjects, similar to the work of Lawrence Alma-Tadema (e.g. Consulting the Oracle, c. 1882; London, Tate). However, Waterhouse consistently painted on a larger scale than Alma-Tadema. His brushwork is bolder, his sunlight casts harsher shadows and his history paintings are more dramatic. Related Paintings of John William Waterhouse :. | Pandora | After the Dance (mk41) | Hylas and the Nymphs (mk41) | Cleopatra | The Enchanted Garden (mk41) | Related Artists:
Adriaen Van UtrechtFlemish Baroque Era Painter, 1599-1652
Flemish painter. He was apprenticed to Herman de Ryt in 1614 and later visited France, Italy and Germany before returning to Antwerp by 1625. He painted pantry scenes, farmyards with poultry, fish markets, game pieces, garlands and diverse still-lifes of fruit and vegetables. Game paintings are most frequent and reflect the influence of Frans Snyders. Adriaen adopted the same abundant displays of game, fruit and vegetables, usually set on a table parallel to the picture plane. Compositions typically fall in horizontal and vertical lines in contrast to the dynamic diagonals of Snyders. In large works, such as the Still-life with Game, Vegetables, Fruit and a Cockatoo (1650; Malibu, CA, Getty Mus.), Adriaen's accessories overflow the table on to the floor below. Baroque devices, such as a sweeping curtain and background window view, add movement and depth. Van Utrecht favoured warm earthen tones, especially grey-green, and a strong chiaroscuro light in his still-lifes; the latter may derive from his knowledge of Italian painting. The artist's style changed little during his career, save for the gradual elimination of figures in his paintings. The influence of Jan de Heem and Jan Fyt can also be seen in his later work.
BERCKHEYDE, Job AdriaenszDutch painter (b. 1630, Haarlem, d. 1693, Haarlem).
He was apprenticed on 2 November 1644 to Jacob Willemsz. de Wet, whose influence is apparent in his first dated canvas, Christ Preaching to the Children (1661; Schwerin, Staatl. Mus.), one of the few biblical scenes in his oeuvre. On 10 June 1653 he repaid a loan from the Haarlem Guild of St Luke, which he subsequently joined on 10 March 1654. During his stay in Heidelberg, Job painted portraits and hunting scenes at the court of the Elector Palatine, who rewarded him with a gold chain, perhaps the one he wears in his early Self-portrait (c. 1655; Haarlem, Frans Halsmus.), his only documented work from the 1650s. Job is better known for his later work, which consists mainly of interior views of St Bavo's church in Haarlem and simple genre scenes recalling those of his Haarlem contemporaries Adriaen van Ostade and Jan Steen.
Andrea PozzoItalian Baroque Era Painter, 1642-1709
Italian painter, architect and stage designer. He was a brilliant quadratura painter, whose most celebrated works, such as the decoration of the church of S Ignazio in Rome, unite painting, architecture and sculpture in effects of overwhelming illusionism and are among the high-points of Baroque church art. He was a Jesuit lay brother and produced his most significant work for the Society of Jesus. This affiliation was fundamental to his conception of art and to his heightened awareness of the artist's role as instrumental in proclaiming the faith and stimulating religious fervour. The methods he used were those of Counter-Reformation rhetoric, as represented in Ignatius Loyola's Spirited Exercises (1548).