Alma Tadema
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8 January 1836 – 25 June 1912. Most renowned painters.

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Nicolas-Antoine Taunay
Le Theatre de la Folie

ID: 81217

Nicolas-Antoine Taunay Le Theatre de la Folie
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Nicolas-Antoine Taunay Le Theatre de la Folie


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Nicolas-Antoine Taunay

painted Le Theatre de la Folie in 1805(1805) until 1810  Related Paintings of Nicolas-Antoine Taunay :. | Le Theatre de la Folie | Bivaque dos sans culottes | The Royal Processions Crossing of Maracana Bridge | Le Theatre de la Folie | Le bivouac des sans coulottes |
Related Artists:
Christian Friedrich Gille
1805-1899 German painter, engraver and lithographer. Between 1825 and 1833 he studied engraving under Johann Gottfried Abraham Frenzel, lithography under Louis Z?llner and painting under Johan Christian Dahl at the Hochschule f?r Bildende K?nste, Dresden. Dahl encouraged in Gille an appreciation for the natural formations and changing conditions of light that had inspired Dahl's friend and mentor, the Romantic painter Caspar David Friedrich. Gille, however, did not adopt Friedrich's tendency to find mystical significance in these phenomena. Gille's prints are highly descriptive in style and include Saxon landscapes, genre scenes, animal studies and portraits of celebrated men. His paintings and sketches, in oils, watercolour and pen and brown ink, were mostly of landscapes, many with animal staffage.
Stefano da Verona
Stefano da Verona. Dating to 1434, it is currently housed in the Pinacoteca di Brera of Milan, northern Italy.
Nicolas Chaperon
Nicolas Chaperon (Châteaudun, bapt. 19 October 1612 e Lyon 1656) was a French painter, draughtsman and engraver, a student in Paris of Simon Vouet whose style he adopted before he was further matured by his stay in Rome (1642-51) in the studio of Nicolas Poussin. In 1653-55 the consuls de Lyon called him to decorate the hôtel de ville but Chaperon dying almost as soon as he arrived, the commission passed to Thomas Blanchet. Chaperon made a name for himself with his suite of engravings after the Raphael Loggie of the Vatican, Rome, 1649, but art historians remember him for the stream of fulminating invective with which Poussin in his correspondence with Paul Freart de Chantelou described this unruly and vindictive practician who refused to carry through his copy of a Transfiguration. So little is known of Chaperon that this episode stands out.






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