Dutch Baroque Era Painter, 1634-1693 Dutch painter. The son of the prosperous Dordrecht merchant Gerrit Maes and his wife Ida Herman Claesdr., Nicolaes Maes learnt to draw from a 'mediocre master' (Houbraken) in his native town before he studied painting with Rembrandt in Amsterdam. His training in Rembrandt's studio must have taken place between 1648/50 and 1653. By December 1653 Maes had settled in Dordrecht and made plans to marry, while a signed and dated picture of 1653 confirms that the 19-year-old artist had completed his training and embarked on an independent career.  Related Paintings of Nicolaes maes :. | An old Woman asleep (mk33) | captain job jansz cuyter and his family | The Naughty Drummer Boy | captain job jansz cuyter and his family | The Apostle Thomas (mk33) |
Related Artists:
Arnold Bocklin
Swiss 1827-1901 Arnold Bocklin Locations Arnold Bocklin was born on Oct. 16, 1827, in Basel. He attended the Dusseldorf Academy (1845-1847). At this time he painted scenes of the Swiss Alps, using light effects and dramatic views subjectively to project emotional moods into the landscape. In 1848 this romantic introspection gave way to plein air (open-air) objectivity after he was influenced by Camille Corot, Eugene Delacroix, and the painters of the Barbizon school while on a trip to Paris. But after the February and June revolutions Bocklin returned to Basel with a lasting hatred and disgust for contemporary France, and he resumed painting gloomy mountain scenes. In 1850 Bocklin found his mecca in Rome, and immediately his paintings were flooded by the warm Italian sunlight. He populated the lush southern vegetation, the bright light of the Roman Campagna, and the ancient ruins with lonely shepherds, cavorting nymphs, and lusty centaurs. These mythological figures rather than the landscapes became Bocklins primary concern, and he used such themes as Pan Pursuing Syrinx (1857) to express the polarities of life: warm sunshine contrasts with cool, moist shade, and the brightness of womans spirituality contrasts with mans dark sensuality. When Bocklin returned to Basel with his Italian wife, he completed the painting which brought him fame when the king of Bavaria purchased it in 1858: Pan among the Reeds, a depiction of the Greek phallic god with whom the artist identified. He taught at the Academy of Art in Weimar from 1860 to 1862, when he returned to Rome. Called to Basel in 1866, he painted the frescoes and modeled the grotesque masks for the facade of the Basel Museum. Bocklin resided in Florence from 1874 until 1885, and this was his most active period. He continued to explore the male-female antithesis and painted religious scenes, allegories of Natures powers, and moody studies of mans fate. He ceased working with oils and began experimenting with tempera and other media to obtain a pictorial surface free of brushstrokes. Bocklin spent the next 7 years mostly in Switzerland, with occasional trips to Italy; he devoted much of his energy to designing an airplane. Following a stroke in 1892, he returned to Italy, bought a villa in Fiesole, and died there on Jan. 16, 1901. Many of his late works depict nightmares of war, plague, and death.
NUVOLONE, Panfilo
Italian painter, Lombard school (1581-1651) After studying with Giovanni Battista Trotti, he moved to Milan, where he is recorded in 1610. The influence of Trotti and of late Cremonese Mannerism is evident in his first known work, SS Nicholas and Costanza Adoring a Miraculous Image of the Virgin (1607; Can?nica d'Adda, S Giovanni Evangelista). In his paintings of scenes from the Life of Samson (1610-14; Milan, S Angelo, Cappella Sansoni) Nuvolone moved away from Trotti, exaggerating the size of the figures and defining form with an academic clarity reminiscent of the contemporary art of Camillo Procaccini. There followed, shortly after the work in S Angelo, frescoes of the Coronation of the Virgin and other scenes in the presbytery of S Maria della Passione in Milan, and, in 1614, a lunette of the Angel Announcing to Mary her Approaching Death for S Domenico, Cremona (Cremona, Mus. Civ. Ala Ponzone). In 1620 he painted the Coronation of the Virgin for the Swiss parish church in Milan (in situ). Still tied stylistically to the earlier work in S Maria della Passione, this demonstrates the difficulty Nuvolone experienced in breaking with the late Mannerism of Giovanni Paolo Lomazzo, Giuseppe Meda (d 1599) and Ambrogio Figino and in adapting to new trends in 17th-century Milanese painting. His Virgin and Child with Two Saints (1624; Milan, S Eustorgio), featuring stiff figures and inflated Mannerist drapery with its metallic folds, indicates continued contact with Procaccini. In the same year he was employed in the decoration of the Collegiata di Appiano Gentile, where he painted two scenes from the Life of St Stephen and a Virgin and Child with SS Anthony and Victor. He continued to produce a vast number of repetitive religious works, yet these are less interesting than his still-life paintings, generally of fruit stands with peaches and grapes presented symmetrically against dark backgrounds.
niklas lafrensen
1737--1807