French Neoclassical Painter, 1716-1809 French painter, draughtsman and engraver. He was one of the earliest French painters to work in the Neo-classical style, and although his own work veered uncertainly between that style and the Baroque, Vien was a decisive influence on some of the foremost artists of the heroic phase of Neo-classicism, notably Jacques-Louis David, Jean-Fran?ois-Pierre Peyron, Joseph-Benost Suve and Jean-Baptiste Regnault, all of whom he taught. Both his wife, Marie-Therese Reboul (1738-1805), and Joseph-Marie Vien fils (1762-1848) were artists: Marie-Therese exhibited at the Salon in 1757-67  Related Paintings of Joseph Marie Vien :. | La Marchande d'Amours | The Seller of Loves | Sultane Reine (mk32) | Greek Woman at the Bath | Venus Showing Mars her Doves Making a Nest in his Helmet |
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ANDREA DA MURANO
Italian painter, Venetian school (known 1462-1502) Italian painter. He is first recorded working as a gilder at S Zaccaria, Venice, in 1463-5. He was one of a number of artists from the island of Murano. Among these he is closest to Bartolomeo Vivarini, whose pupil he may have been. The two collaborated in 1468 on a narrative canvas (destr.) for the Scuola di S Marco, Venice, which probably depicted scenes from the Life of Abraham. The rather harsh sculptural quality of his forms owes much to the influence of Mantegna and Donatello in Padua, and his work has often been associated (and sometimes confused) with that of Andrea del Castagno. He did not, however, ignore the more recent developments of Giovanni Bellini. His triptych depicting SS Vincent Ferrer, Roch, Sebastian and Peter Martyr, with a lunette of the Madonna of Mercy and Four Saints (Venice, Accad.), probably painted in the late 1470s, shows a real concern with light and colour. By the mid-1480s Andrea had settled in Castelfranco on the mainland, chiefly painting altarpieces in the (by then well established) Venetian sacra conversazione form. The altarpiece (1484-1502) in the parish church at Trebaseleghe, nr Padua, is a variation on the form, with Christ embracing the plague saints Sebastian and Roch above and other saints and musicians below, all showing the high degree of expression characteristic of his works. It is one of his finest paintings and also perhaps the most expensive Venetian altarpiece of its day. The altarpiece depicting the Virgin Enthroned with SS Peter, Nicholas of Bari, John the Baptist and Paul (1502; Mussolente, Santuario della Madonna dell' Acqua) is typical of Andrea's work and shows both the strengths and limitations of his art: firm draughtsmanship and expressive qualities combined with a rather conservative composition and somewhat ungainly figures.
Pieter Jansz Saenredam
1597-1665 Dutch Pieter Jansz Saenredam Gallery Saenredam was the son of the print maker and draughtsman Jan Pietersz Saenredam (1565-1607), who was born in Zaandam or, in those days, Saenredam. In 1612 he moved to Haarlem, where he became a pupil of Frans de Grebber and lived the rest of his life. A contemporary of Rembrandt, he is noted chiefly for his surprisingly modern paintings of churches. Saenredam achieved this modern look by meticulously measuring and making sketches of the churches he wanted to paint. He would make these sketches in pencil, pen, and chalk, then and add in water colors to help give the sketch texture and color. The sketches are very architectural in detail, they convey the interior atmosphere through the clever use of light and graduated shadows. Saenredam often deliberately left people out of his work, thus also focusing more attention on buildings and their architectural forms. Only after having made precise measurements, and precise sketches and drawings of the churches, he would take them to his studio where he started to create his paintings. The Reformation led to a rise in Protestant art, of which Saenredam??s Interior of the St. Martin's Dom in Utrecht is an example. As a Catholic church the Dom had been built with adornments. Then, in the epoch of the Eighty Years War and with the church getting in Protestant hands, it was ??cleaned?? of Catholic influences. The altarpieces and statuary were removed, and the walls and ceiling were white washed. The painting shows the church not long after its make-over. The sparse interior with illuminated corridors reflect Protestant ideals, new for Saenredam's time. Alternatively, the paintings of church interiors by Saenredam and other 17th century Dutch painters have been interpreted as having less to do with religion and more with the new-found interest in perspective and with the Dutch interpretation (known as Dutch Classicism) of Palladio??s theories of proportion, balance and symmetry. In any case, Saenredam wanted to memorialize his country during this time of change by documenting many of the country??s buildings. Many artists before him had specialized in imaginary and fanciful architecture, but Saenredam was the first to focus on existing buildings. According to the J. Paul Getty Trust ??Saenredam??s church paintings??owe their poetry to his remarkable blend of fact and fiction. He began by making site drawings of buildings that record measurements and detail with archaeological thoroughness.?? This meticulous preparation helped him to create such accurate and enchanting paintings. The measurements aided him in using scientific linear perspective, just like Andrea Pozzo. He was able to use his measurements to create a realistic image with depth. The Utrecht Archives houses a large number of Saenredam's drawings. In the season 2000-2001 the Centraal Museum at Utrecht held a major exhibition of his drawings and paintings. Perhaps his best known works are a pair of oil paintings both titled Interior of the Buurkerk, Utrecht. One hangs in London's National Gallery, the other in the Kimbell Art Museum in Fort Worth, Texas. In their simplicity and semi-abstract formalism, they foreshadow more modern works such as those of Mondrian and Feininger.
Ozias Humphrey
(8 September 1742 - 9 March 1810) was a leading English painter of portrait miniatures, later oils and pastels, of the 18th century. He was elected to the Royal Academy in 1791, and in 1792 he was appointed Portrait Painter in Crayons to the King. Born and schooled in Honiton, Devon, Humphrey was attracted by the gallery of casts opened by the Duke of Richmond and came to London to study art at Shipley's school. He also studied art in Bath (under Samuel Collins, taking over his practice in 1762); in Bath, he lodged with Thomas Linley. As a young artist, his talent was encouraged by Thomas Gainsborough and Sir Joshua Reynolds, among others. His problems with his sight, which ultimately led to blindness.