Flemish Baroque Era Painter, 1577-1640 Peter Paul Rubens (June 28, 1577 ?C May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp which produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England. Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems. His fondness of painting full-figured women gave rise to the terms 'Rubensian' or 'Rubenesque' for plus-sized women. The term 'Rubensiaans' is also commonly used in Dutch to denote such women.  Related Paintings of Peter Paul Rubens :. | Portrat der Maria de Medici, Konigin von Frankreich | Portrait of Yien | Aklixi standing between her daughters | Rubens is known for the frenetic energy and lusty ebullience of his paintings, as typified by the Hippopotamus Hunt | Portrait of the Artist |
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John Jackson
(31 May 1778 - 1 June 1831) was an English painter. Jackson was born in Lastingham, Yorkshire, and started his career as an apprentice tailor to his father, who opposed the artistic ambitions of his son. However, he enjoyed the support of Henry Phipps, 1st Earl of Mulgrave (1755-1831), who recommended him to the Earl of Carlisle, as well as that of Sir George Beaumont, 7th Baronet - who offered him residence at his own home and ₤50 per annum - and was able to attend the Royal Academy Schools, where he befriended David Wilkie and B. R. Haydon. At Castle Howard, residence of the Earl of Carlisle, he could study and copy from a large collection of paintings. His watercolours were judged to be of uncommon quality. By 1807 his reputation as a portrait painter was assured, and he made the transition to oils steadily, if not easily, regularly forwarding paintings to Somerset House. After a visit to the Netherlands and Flanders with Edmund Phipps in 1816, he accompanied Sir Francis Chantrey on a trip to Switzerland, Rome, Florence and Venice in 1819. In Rome he was elected to the Academy of St Luke. His portrait of Antonio Canova, painted on this trip, was regarded as being outstanding. Jackson was a prolific portraitist, strongly showing the influence of Sir Thomas Lawrence and Henry Raeburn in his work. His sitters included the Duke of Wellington, the explorer Sir John Franklin and some noted Wesleyan ministers. His 1823 portrait of Lady Dover, wife of George Agar-Ellis, 1st Baron Dover, was widely acclaimed. He was a Royal Academy student from 9 March 1805, was elected an Associate of the RA on 6 November 1815 and elected a full member on 10 Feb 1817. John Jackson was married twice - the first marriage was to the daughter of a jeweller, the second to Matilda the daughter of the painter James Ward. He died in St John's Wood, London.
NEER, Aert van der
Dutch Baroque Era Painter, ca.1603-1677 Dutch landscape painter. Working mostly in Amsterdam, he excelled in painting unusual light effects, such as moonlight, sunsets, conflagrations, and glimmering light on snow and ice. His winter landscapes are among the best in Dutch art. He is well represented in many European galleries. The Metropolitan Museum has his Sunset, The Farrier, and Landscape. His son and pupil, Eglon Hendrik van der Neer, 1634C1703, was a genre, landscape, and portrait painter. He was court painter to the elector palatine in Desseldorf. He excelled in painting luxurious interiors, hunting scenes, and mythological or biblical subjects in Dutch settings.
Frederick Edwin Church
1826-1900 Frederick Edwin Church Galleries Frederic Edwin Church (May 4, 1826 ?C April 7, 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters. While committed to the natural sciences, he was "always concerned with including a spiritual dimension in his works". The family wealth came from Church's father, Joseph Church, a silversmith and watchmaker in Hartford, Connecticut.(Joseph subsequently also became an official and a director of The Aetna Life Insurance Company) Joseph, in turn, was the son of Samuel Church, who founded the first paper mill in Lee, Massachusetts in the Berkshires, and this allowed him(Frederic) to pursue his interest in art from a very early age. At eighteen years of age, Church became the pupil of Thomas Cole in Catskill, New York after Daniel Wadsworth, a family neighbor and founder of the Wadsworth Atheneum, introduced the two. In May 1848, Church was elected as the youngest Associate of the National Academy of Design and was promoted to Academician the following year. Soon after, he sold his first major work to Hartford's Wadsworth Atheneum. Church settled in New York where he taught his first pupil, William James Stillman. From the spring to autumn each year Church would travel, often by foot, sketching. He returned each winter to paint and to sell his work. Between 1853 and 1857, Church traveled in South America, financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian explorer Alexander von Humboldt's Cosmos and his exploration of the continent; Humboldt had challenged artists to portray the "physiognomy" of the Andes.