(Verona, 1578 - Verona, 1630) was an Italian painter. Born in Verona in 1578, Ottino learned his trade in the workshop of Felice Brusasorci together with Alessandro Turchi, known as Orbetto, with whom he completed the Fall of Manna in the church of San Giorgio in Braida, left unfinished on the masteres death in 1605. His early works attest to the decidedly Mannerist character of the initial phase of his career. The sources indicate fairly constant activity in his hometown, even though there are still some doubts as to the reconstruction of his artistic career, especially incongruities regarding a trip to Rome that may have taken place with his companions Turchi and Bassetti around 1615. He died of plague in Verona in 1630.   Related Paintings of Pasquale Ottino :. | Vaubecourt | Sept Baigneurs | Man with a Pink Carnation | Self-Portrait of the Artist in His Studio | Bothers |
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Arnold Boonen
Arnold van Boonen was a Dutch eminent portrait painter, was born at Dordrecht, in the Dutch Republic in 1669. He was first a scholar of Arnold Verbius, and was later instructed by Godefried Schalken. He painted genre pictures in the style of the latter, representing subjects by candlelight, but met with such encouragement in portrait painting that he devoted himself almost wholly to that branch of art. His style was well adapted to succeed in it. An excellent oolourist, a faithful designer of his model, and highly skilled, he was soon distinguished as one of the ablest artists of his day. He painted a great number of portraits of the most distinguished people of his time, among whom were Peter the Great, the Elector of Mentz, the Landgrave of Hesse-Darmstadt, the Prince and Princess of Orange, the great Duke of Marlborough, and several others. He painted some large pictures for the halls of the different companies at Amsterdam and Dordrecht. He died in 1729. The Dresden Gallery has seven works by him, and the 'Woman Singing' in the Lille Gallery is also attributed to him. His son, Kasper van Boonen, also painted portraits, but in no way proved himself equal to his father.
Eugene Burnand
French Painter, 1850-1921 was a Swiss painter. He was born in the municipality of Moudon in the Swiss canton Vaud. Before moving to Paris in 1872 he studied with Barth??lemy Menn at the Ecole des Beaux-Arts in Geneva. In Paris he joined Jean-L??on G??rôme's studio, and was known primarily as a landscape painter. Burnand was greatly influenced by the Realism of such artists as Jean-François Millet and Gustave Courbet. This is reflected in perhaps his best known work, The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection c.1898,
John Haberle
(1856-1933) was a 19th-century American painter in the trompe l'oeil (literally, "fool the eye") style. His still lifes of ordinary objects are painted in such a way that the painting can be mistaken for the objects themselves. He is considered one of the three major figuresetogether with William Harnett and John F. Petoepracticing this form of still life painting in the United States in the last quarter of the 19th century. Haberle was born in New Haven, Connecticut; his parents were Swiss immigrants. At the age of 14 he left school to apprentice with an engraver. He also worked for many years as an exhibit preparator for the Peabody Museum of Natural History at Yale University. His career as a painter began in 1887. His style is characterized by a meticulous rendering of two-dimensional objects. He is especially noted for his depictions of paper objects, including currency. Art historian Alfred Frankenstein has contrasted Haberle's work with that of his contemporaries: Peto is moved by the pathos of used-up things. Haberle is wry and wacky, full of bravado, self-congratulating virtuosity, and sly flamboyance. He works largely within an old tradition, that of the trompe l'oeil still life in painted line ... It is poles away from Harnett's sumptuosity, careful balances, and well-modeled volumes, and is equally far from Peto's sensitivity in matters of tone and hue. A Bachelor's Drawer (1890-94) is typical of his approach: various papers, including currency, postage stamps, photos, playing cards, tickets, and newspaper clippings, are shown affixed to an essentially planar surface. Other objectseeyeglasses, a comb, a pipe, matches, and so oneare shallow enough in volume so as not to spoil the illusion. Like Harnett, he was warned by the Secret Service to cease and desist painting paper money, but he continued to do so throughout his years of greatest productivity; examples include The Changes of Time (1888) and Can You Break a Five? (c. 1885). He painted other subjects such as Slate (c. 1895), a bin of peanuts in Fresh Roasted (1887), The Clay Pipe (1889), and the huge Grandma's Hearthstone (1890), in the collection of the Detroit Institute of Arts. By the turn of the century, problems with his eyes diminished Haberle's activity as an artist. Among his later works are paintings of flowers executed in a looser style, and in 1909 he painted his final trompe l'oeil, the large Night, in the collection of the New Britain Museum of American Art, New Britain, Connecticut. Haberle died in 1933.