Dutch Baroque Era Painter, 1619-1668 Dutch painter and draughtsman. He was the eldest son of the painter Paulus [Pauwels] Joostens Wouwerman of Alkmaar (d 28 Sept 1642), whose two other sons, Pieter Wouwerman (1623-82) and Johannes Wouwerman (1629-66), also became painters. Philips probably received his first painting lessons from his father, none of whose work has been identified. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals, although no trace of Hals's influence is discernible in Wouwerman's work. Wouwerman is also reputed to have spent several weeks in 1638 or 1639 working in Hamburg in the studio of the German history painter Evert Decker (d 1647). While in Hamburg, he married Annetje Pietersz. van Broeckhof. On 4 September 1640 Wouwerman joined the Guild of St Luke in Haarlem, in which in 1646 he held the office of vinder (agent or 'finder'). Given the many southern elements in his landscapes, it has repeatedly been suggested that Wouwerman must have travelled to France or Italy, but there is no documentary evidence that he left his native Haarlem for more than short periods.   Related Paintings of Philips Wouwerman :. | Travelers Awaiting a Ferry | Dune Landscape | The Horse Fair | Winter Landscape with Wooden Bridge | cavalry making a sortie from a fort on a hill |
Related Artists:
Paul Maitland
British Painter, 1863-1909
Giuseppe Bazzani
Italian Baroque Era Painter, 1690-1769 was an Italian painter of the Rococo. Born in Mantua to a goldsmith, Giovanni Bazzani, early on he apprenticed with the Parmesan painter Giovanni Canti (1653-1715). A fellow pupil was Francesco Maria Raineri. He spent most of his life in Mantua. From 1752, he was faculty, and from 1767, director of the Accademia di Belle Arti of Mantua. While esconced in a declining provincial city, he absorbed international influences. His loose brushstrokes, fervid often dark emotionalism, and tortured poses, which recall at times later expressionism, display stylistic tendencies more typical of Lombardy. Numerous artists, including Fetti, Bencovich, Rubens, and Magnasco are said to have influenced him, although the number and diversity of the artists suggested hints that he had an idiosyncratic and unique synthesis for his time. Among his early works are paintings of the Miracles of Pius V, the Conversion of a Heretic and the Healing of a Madwoman
Sir John Everett Millais
British 1829-1896 Sir John Everett Millais Galleries After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe". It has been argued that this change of style resulted from Millais' need to increase his output to support his growing family. Unsympathetic critics such as William Morris accused him of "selling out" to achieve popularity and wealth. His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our art of Today" (1888) he recommended Vel??zquez and Rembrandt as models for artists to follow. The Two Princes Edward and Richard in the Tower (1878) The Boyhood of Raleigh (1871)Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported. Other paintings of the late 1850s and 1860s can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour and are symbolic rather than narratival. Later works, from the 1870s onwards demonstrate Millais' reverence for old masters such as Joshua Reynolds and Vel??zquez. Many of these paintings were of an historical theme and were further examples of Millais' talent. Notable among these are The Two Princes Edward and Richard in the Tower (1878) depicting the Princes in the Tower, The Northwest Passage (1874) and the Boyhood of Raleigh (1871). Such paintings indicate Millais' interest in subjects connected to Britain's history and expanding empire. His last project was to be a painting depicting a white hunter lying dead in the African veldt, his body contemplated by two indifferent Africans. This fascination with wild and bleak locations is also evident in his many landscape paintings of this period, which usually depict difficult or dangerous terrain. The first of these, Chill October (1870) was painted in Perth, near his wife's family home. Many others were painted elsewhere in Perthshire, near Dunkeld and Birnam, where Millais rented grand houses each autumn in order to hunt and fish. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) ?C famous, or perhaps notorious, for being used in the advertising of Pears soap ?C and Cherry Ripe.