French, 1646-1704 He studied with his father Barthelemy Parrocel (1595-1660) and then with his elder brother Louis Parrocel (1634-94). He went to Paris for four years to perfect his work and then, c. 1667, to Rome, where he became the pupil of the battle painter Jacques Courtois and was influenced by Salvator Rosa. He remained in Italy for eight years and stayed for a time in Venice, before returning to settle in Paris in 1675. He was approved (agree) by the Academie Royale de Peinture et de Sculpture in February 1676 and received as a full member in November of the same year, presenting the Siege of Maastricht (Draguignan, Mus. Mun.). His painted oeuvre consists principally of military scenes, particularly battles, and he received numerous royal commissions. In the period 1685-8 he executed 11 paintings for the Salle du Grand Couvert at the cheteau of Versailles (nine in situ; one in Tours, Mus. B.-A.; one in Dijon, Mus. B.-A.); in 1699 he painted the Crossing of the Rhine (Paris, Louvre.) for the cheteau of Marly, Yvelines, and in 1700 he executed the Fair at Bezons (Tours, Mus. B.-A.), anticipating the fetes galantes of Antoine Watteau. He was also the author of a number of hunting scenes . His most important religious paintings were the May of Notre-Dame de Paris of 1694, St John the Baptist Preaching (Arras, Mus. B.-A.) and St Augustin Succouring the Sick (c. 1703; Nantes, Mus. B.-A.), which was intended for the monastery in the Place des Victoires in Paris. He also contributed battle scenes to the backgrounds of portraits by Hyacinthe Rigaud and by Gabriel Blanchard. His technique was highly original in the context of his time; he employed a very free style of execution and used thick impasto and intense colours. He was also a prolific engraver, producing around 100 plates,   Related Paintings of Parrocel, Joseph :. | The Return from the Hunt | Cavalry Battle | Crossing of the Rhine by the Army of Louis XIV on 12 June (mk05) | The Return from the Hunt | The Crossing of the Rhine by the Army of Louis XIV |
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Peter Nicolai Arbo
(June 18, 1831 - October 14, 1892) was a Norwegian painter, who specialized in painting motifs from Norwegian history and images from Norse mythology. He is above all noted for Åsgardsreien, a dramatic motif based on a Norwegian folk legend and Valkyrie, which depicts a female figure from Norse mythology. Peter Nicolai Arbo grew up at Gulskogen Manor in Gulskogen, a borough in Drammen, Norway. He was the son of headmaster Christian Fredrik Arbo (1791-1868) and his wife Marie Christiane von Rosen. His brother Carl Oscar Eugen Arbo was a military medical doctor and a pioneer in Norwegian anthropologic studies. Arbo's childhood home, Gulskogen, was built in 1804 as a summer residence for his older cousin, lumber dealer and industrialist Peter Nicolai Arbo.Arbo started his art education with a year at the Art School operated by Frederick Ferdinand Helsted (1809-1875) in Copenhagen 1851-1852. After this, he studied at the art academy in Dusseldorf. From 1853 to 1855 he studied under of Karl Ferdinand Sohn, professor of The Dusseldorf School of Art, and from 1857-1858 under J. E. Henthen who was a battle and animal painter. At Dusseldorf he was for some time a private student of the history painter C. Mengelberg. He had contact with Adolph Tidemand and became a good friend of Hans Gude both of whom were professors at the art academy in Dusseldorf.
Thomas Mellish
British, 1778
Juan de Sevilla romero
Spanish , 1643-1695