1861-1944   Related Paintings of Joseph E.Southall :. | Study for Portrait of Henry W Nevinson LLD.LittD | Figures on the Beach | Southwold Composition Study for Painting | Mending the Net | Study for Fishermen and Boat |
Related Artists:
Thomas Robins the Elder
1716-1770
Jean-Baptiste Pillement
(Lyon, 24 May 1728 - Lyon, 26 April 1808) was a painter and designer, known for his exquisite and delicate landscapes, but whose importance lies primarily in the engravings done after his drawings, and their influence in spreading the Rococo style and particularly the taste for chinoiserie throughout Europe. Pillement had an unusually cosmopolitan career. In 1743, at the age of 15, he moved from Lyon to Paris where he was employed as an apprentice designer at the Gobelin factory. In 1745 he left for Spain, where he remained for 5 years. There he found employment in various cities as both a designer and painter. A landscape dated 1748 reveals rustic themes he was to repeat often: sun bathed shepherds leading their goats and sheep to a cascading stream, a water mill, rocky elevations covered in lush vegetation, and the poeticized relics of an ancient bridge. In 1750, at the age of 22, he moved to Lisbon, where he enjoyed continuing success. The lure of travel compelled him to decline an offer to become First Painter to King Joseph of Portugal ?, and in 1754 he left Lisbon for London. Pillement then spent eight years in England, fully exploiting the English taste for landscapes. There he was inspired by the paintings of, among others, Nicolaes Berchem. During this period he became acquainted with David Garrick, the famous actor, and his Austrian wife Eva Maria Weigel, who became avid collectors of his work. In 1763 Pillement then traveled to Vienna, where he was employed at the Imperial Court of Maria Theresa and Francis I. In 1765 he left Vienna for Warsaw, where his many projects included decorating the Royal Castle in Warsaw and the Ujazdowski Castle, his largest project, commissioned by Stanisław August Poniatowski. He also later worked in Saint Petersburg, the Piedmont, Milan, Rome and Venice. 1768-1780 Pillement again worked in France, where he was employed by Marie Antoinette in the Petit Trianon. 1780-1789 he was once again on the Iberian Peninsula, and in 1789 moved to Pezenas in the Languedoc. In 1800 he returned to Lyon, where he continued to paint while also designing for the silk industry and giving lessons in the Academy founded by Napoleon.
Nicolaes Eliaszoon Pickenoy
(10 January 1588 - 1653/1656) was a Dutch painter of Flemish origin. Pickenoy was possibly a pupil of Cornelis van der Voort and presumably Bartholomeus van der Helst was his own pupil. He was the son of the Antwerp monumental mason Elias Claeszoon Pickenoy (1565-1640) and Heijltje Laurens s'Jonge (1562-1638), who emigrated to Amsterdam before Nicolaes Pickenoy was born. In 1621, living near the Oude Kerk, he married Levijntje Bouwens (1599-na 1656), an orphan of 21 years. They had ten children: Sara and Elias died young. Pickenoy painted large Schuttersstukken, group portraits of the regents of the orphanage, and individual portraits of local or national celebrities like Nicolaes Tulp, Cornelis de Graeff, Maarten Harpertszoon Tromp and Jochem Hendrickszoon Swartenhont, Elisabeth Bas's husband. The earliest picture ascribed to the artist is "Dr. Sebastiaen Egbertz de Vrij's Osteological Presentation" of 1619, now in Amsterdam Historisch Museum. His heyday was ca. 1630-1637, a period marked by a high artistic level and numerous commissions from prominent patrons. After 1637 he painted little, save for a number of prestigiouseand lucrativeegroup portraits. Besides portraits, he also painted a small number of biblical subjects, one of which can be seen in the Museum Catharijneconvent. The Rijksmuseum Amsterdam and Amsterdams Historisch Museum holds many of his best works, not least the Schutterstukken or militia paintings. In 1637 he bought from Adriaen Pauw the house on the corner of Sint Anthoniessluis and Jodenbreestraat, a fashionable area with many painters, art dealers, jewellers and so on. The house had previously been owned by his supposed master, Cornelis van der Voort, and later by Hendrick van Uylenburgh. During the years 1631-1634 the latter was collaborating with Rembrandt van Rijn, who painted numerous portraits for Van Uylenburgh's art business. Thus the house Pickenoy purchased had been a centre of Amsterdam portraiture for decades. In 1639 Rembrandt returned to the neighbourhood as he bought the house next to Pickenoys, the present day Rembrandthuis. Rembrandt could leave his house via an exit onto the Zwanenburgwal under the house of his neighbor Pickenoy. He brought out Night Watchepainted in his courtyarderolled up through the tunnel. Like Rembrandt, Pickenoy was not able to bring up the loan and so after eight years he sold the house. The work of Pickenoy is difficult to distinguish from that of some of his contemporaries. Typical of Pickenoy are the fiercely invading light that makes the heads stand out sharply, the somewhat exaggerated gestures, the large greenish brown shadows and the odd-shaped eyes.