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

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Pandolfo Reschi
An Armed Assault on a Convent

ID: 28871

Pandolfo Reschi An Armed Assault on a Convent
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Pandolfo Reschi An Armed Assault on a Convent


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Pandolfo Reschi

(b Gdansk, c. 1640; d Florence, 1696). Polish painter, active in Italy  Related Paintings of Pandolfo Reschi :. | Der Tod der Kleopatra von Jean-Baptiste Regnault | The Court of Gonzaga | Hennebont | Outdoor Fete in Turkey | St Francis Praying |
Related Artists:
John Henry Twatchman
1853-1902 John Henry Twatchman Galleries
Eunice Pinney
American Folk Artist, 1770-1849 She was a self-taught artist who, from about 1809 to 1826, devoted part of her time to producing a wide range of subjects in watercolour: landscape, genre, historical, biblical, allegorical and literary. Her distinctive style is solid and robust, with a strong sense of contrast and design. Problems in creating realistic form are apparent: faces are largely expressionless, and figures are stocky and two-dimensional. However, these difficulties are compensated for by fresh vigorous colour, bold pattern, artful composition and varied subject-matter. Pinney displayed the primitive artist's tendency to borrow and model from the best sources at hand: The Cotter's Saturday Night
MIGNON, Abraham
Dutch Baroque Era Painter, 1640-1679 Dutch painter, was born at Frankfurt. His father, a merchant, placed him under the still-life painter Jacob Marrel, by whom he was taken to the Netherlands about 1660. He then worked under Jan Davidszoon de Heem at Utrecht, where in 1675 he married the daughter of the painter Cornelis Willaerts. Sibylle Merian (1647-1717), daughter of the engraver Matthew Merian, became his pupil and achieved distinction as a flower painter. He died at Utrecht. Mignon devoted himself almost exclusively to flowers, fruit, birds and other still-life, though at times he also attempted portraiture. His flower pieces are marked by careful finish and delicate handling. His favourite scheme was to introduce red or white roses in the centre of the canvas and to set the whole group of flowers against a dark background. Nowhere can his work be seen to better advantage than at the Dresden Gallery, which contains fifteen of his paintings, twelve of which are signed. Six of his pictures are at the Louvre, four at the Hermitage, and other examples are to be found at the museums of Amsterdam,






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