Dutch Baroque Era Painter, 1610-1685 Painter, draughtsman and etcher. According to Houbraken's rather unreliable biography, he was a pupil concurrently with Adriaen Brouwer of Frans Hals in Haarlem. Hals influenced him very little, whereas Brouwer, who was described as 'known far and wide' as early as 1627, had a decisive influence on the evolution of Adriaen van Ostade's always idiosyncratic portrayal of peasant life. The first documentary mention of Adriaen van Ostade as a painter is in 1632 (Schnackenburg, 1970). Most of his paintings are signed and dated, the earliest firmly dated example being the Peasants Playing Cards (1633; St Petersburg, Hermitage).   Related Paintings of Ostade, Adriaen van :. | A Peasant Family Outside a Cottage | The Drinker and the Smoker | An Alchemist | An Alchemist | Villagers Merrymaking at an Inn |
Related Artists:
Daniel Gardner
United Kingdom (1750 -1805 ) - Drawer
Cornelis Holsteyn
(1618 - 2 December 1658) was a Dutch Golden Age painter from Haarlem. According to the RKD he was a painter of historical allegories, portraits, and interior decorations, trained by his father Pieter Holsteyn I. According to Houbraken, his father was a glass painter, and thus was trained for glass painting, but the market in glass painting not being what it was, he turned his hand to painting canvas. Houbraken felt he received less for a painting than he deserved, because his work was of a very high quality. He describes a Triumph of Bacchus, and a Lycurgus, which was painted for the Amsterdam Orphanage. According to the RKD, he moved to Amsterdam with his brother Pieter Holsteyn II in 1647, became poorter there in 1652, and was betrothed there on Christmas eve, 1654. He was buried in the Nieuwe Kerk on December 2, 1658 from his home on the Rozengracht. Houbraken claimed he had been fit until his sudden death by Hartvang, or heart-attack.
DYCK, Sir Anthony Van
Flemish Baroque Era Painter, 1599-1641 Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck's studies in oil of characterful heads were included in Rubens's estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone;