Leon François Comerre French. 1850 - 1934  Related Paintings of Leon Comerre :. | Zomerbloemen | Morning Glories | Morning Glories | A still life with flowers | The Favorite |
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HAMEN, Juan van der
Spanish painter (b. 1596, Madrid, d. 1631, Madrid). was a Spanish painter, a master of the still life paintings, also called bodegones. During his lifetime, he was prolific and versatile, painting allegories, landscapes, and large-scale works for churches and convents. However, today he is remembered mostly for his still lifes. In the 1620s, He popularized still life painting in Madrid. Juan van der Hamen y Leon was baptized on 8 April 1596 in Madrid, therefore, he must have been born there just days before that date. He was the son of Jehan van der Hamen, a Flemish courtier, who had moved to Madrid from Brussels before 1586, and Dorotea Whitman Gemez de Leon, a half-Flemish mother of noble Toledan ancestry . Van der Hamen and his two brothers Pedro and Lorenzo (both of whom were writers) emphasized their Spanish roots by using all or part of their maternal grandmother's family name, Gemez de Leon. The painter's father, Jan van der Hamen, had come to Spain, as an archer, to the court of Philip II were he settled, married, and his children were born. According to 18th-century sources, the artist's father had also been a painter, but there is no evidence for this. Juan van der Hamen inherited his father's honorary positions at court and also served as unsalaried painter of the king. Van der Hamen's artistic activity in the service of the crown is first recorded on 10 September 1619, when he was paid for painting a still-life for the country palace of El Pardo, to the north of Madrid. Noted for his versatility, Juan van der Hamen painted religious history paintings; allegories, landscapes, low-life subjects, portraits and still-lifes but the last two categories brought him the greatest fame. He served at the courts of Philip III and Philip IV and established the popularity of the new genre of still-life in Madrid in the 1620s. A prolific artist, van der Hamen painted all his works during the first decade of the reign of Philip IV. It is known that he painted more still lifes in 1622 than in any other period of his life. He also reached great personal fame as a portraitist, being this field, the one that provided him with greater personal success, since still life was considered a lesser genre. He executed a portrait of Philip IV and worked during the 1620s in a series of portraits of the principal intellectuals and writers of his time, including: Lope de Vega, Francisco de Quevedo, Luis de Gengora, Jose de Valdivieso, Juan Perez de Montalbon, Juan Ruiz de Alarcen and Francisco de Rioja. On van der Hamen's death, twenty of these portraits were inventoried as a single item among his belongings. The portrait of his older brother, Lorenzo van der Hamen, probably belonged to this series. The series itself was a focal point for philosophic speculation on the art of portraiture by some of the most distinguished minds of the time, who frequently praised Juan van der Hamen in verse and prose. Among Van der Hamen portraits, there is one of a dwarf, painted around 1623 in a powerful naturalistic style. This painting (Madrid, Museo del Prado) anticipated the later made by Velezquez. In 1626, van der Hamen painted cardinal Francesco Barberini, after a previous portrait by Velezquez had failed to please the sitter. Well satisfied with his work Cardinal Barberini acquired three further works from him. As a religious painter Juan van der Hamen worked for several religious institutions in and around Madrid and Toledo, like the Monastery of the Descalzas Reales, in Madrid, for which he painted altars. Few of these paintings are extant. The best surviving examples of his religious work are in the cloister of the Royal Convent of La Encarnacion in Madrid, painted in 1625 in a naturalistic tenebristic style. Juan van der Hamen was also a pioneer in the field of flower painting. Van der Hamen probably began painting floral arrangements in response to the flower pieces of Flemish artists, such as Jan Brueghel, who were regarded as exemplary masters in the field and whose works were much sought after in Spain. One good example of his work as a flower painter is his Offering to Flora , a visual poem that parallels the lyric verse of his time, in which he united his skills as portraitist and flower painter to produce one of the most beautiful paintings of the allegory of spring.
wilhelm von gegerfelt
född 9 november 1844 i Göteborg, död 1920, målare, son till arkitekten Victor von Gegerfelt. von Gegerfelt studerade 1861-63 vid konstakademien i Köpenhamn, 1864-67 vid akademien i Stockholm och 1867-72 i D??sseldorf, varefter han överflyttade till Paris. Där arbetade han sig till en helt ny teknik och blev jämte Alfred Wahlberg den förste svenske representanten för det moderna stämningslandskapet. Han gjorde studieresor till Frankrikes nordkust, till hemlandet och till Italien, målade skymning över Venedigs kajer, månsken över lagunerna, kritklippor vid Engelska kanalen i gråstämning, svenska sommarnätter, allt med elegant pensel, smekande färg och livligt föredrag. Gegerfelt är representerad på Nationalmuseum av Stormen (akvarell, motiv från Dalarna, inköpt 1886) och Strand på Hallands Väderö (i olja, 1893) samt på Göteborgs konstmuseum av Strandgata i Venezia (1884), oljemålningen Vinterafton på Hallands Väderö (1893) samt akvarellen Fjällbacka.
Karel Dujardin
1621-1678 Dutch Karel Dujardin Locations Dujardin was born in Amsterdam in 1640. After training with Nicolaes Berchem, he went to Italy when young, and became a member of the Society of Painters at Rome, among whom, he was known as Barba di Becco. In Rome, his works met with general approbation. According to some sources, on his way back to his native country, he contracted considerable debts at Lyon, to free himself from which, he married his old and rich landlady. He went with her to Amsterdam, where his pictures were valued very highly. He soon secretly left his home in that city, probably from dislike of his wife, and went back to Rome in 1675, where he was welcomed by his old friends and admirers, and lived at great expense. After a vist to Tangier he went to Venice, where he died in 1678. Most of his paintings are cabinet paintings of Italianate landscapes and or with farm animals and peasants. His landscapes have spirit and harmony, his figures expression, and his colour the brilliancy which distinguishes his school. His paintings are rare and command a high price. He also published fifty-two etchings of simiar subjects, with great spirit and ease. He painted a single, fine, portrait (probably a self-portrait), and a pair of Baroque religious paintings on the life of St Paul, probably commissioned, as they lie well outside his normal style. One of these, and the portrait, are in the National Gallery, London