(February 17, 1837 ?C 1883) was a French painter of the Academic Classicism school. He was born in B??darieux, and initially studied at l'Ecole des Beaux-Arts in Toulouse before going to Paris. He studied under Leon Cogniet, Alexandre Cabanel and William-Adolphe Bouguereau. From the 1870s, his popularity grew quickly. In 1874 he was made Chevalier of the Legion of Honour. He created several works of lasting popularity, including Le Printemps, featuring two young lovers sitting upon a swing, and The Storm. Both these paintings are on display at the Metropolitan Museum of Art in New York City;  Related Paintings of Pierre Auguste Cot :. | Ophelia | Spring, 1873 | The Storm | Spring | Ophelia |
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Bartholomeus Breenbergh
(before 13 November 1598 - after 3 October 1657) was a Dutch painter born in Deventer. Breenbergh established himself in Amsterdam and then in 1619 went to Rome. There he lived and worked with the Flemish painter Frans van de Kasteele and was heavily influenced by another Fleming, the landscape painter Paul Bril. From 1623, however, he came completely under the spell of Italian landscapes by the somewhat older Cornelis van Poelenburgheindeed, the works of Breenbergh and van Poelenburgh are sometimes very difficult of tell apart. Breenbergh in his turn influenced the French painter Claude Lorrain. Breenbergh was one of the founders of the Bentvueghels, where he was nicknamed "het fret". In 1633 Breenbergh returned to Amsterdam, where he remained until his death, and where he made paintings and etchings of Italian buildings. There he was influenced by the pre-Rembrandtists such as Pieter Lastman and Nicolaes Moeyaert, but he placed their Biblical and mythological scenes in Italian landscapes.
VEEN, Otto van
Flemish painter (b. 1556, Leiden, d. 1629, Bruxelles). Flemish painter and draughtsman of Dutch birth. Although born in Holland, he is regarded as an artist of the Catholic southern Netherlands, where he spent most of his active life. He seems to have been acquainted with most of the Netherlandish scholars of his time, and his works testify to his broad humanistic learning. This and his prominent role in the early manifestations of the Counter-Reformation in Antwerp may have led Rubens to choose him as a teacher. Van Veen's importance as an artist has often been compared to the career of his famous pupil, for whom he was certainly the most important exemplar of the pictor doctus or learned painter. Van Veen obviously represents the older generation's more classicizing and conservative response to the Counter-Reformation. For him, the return to the spiritual values of the past also implied a recovery of the pictorial style of the High Renaissance, with its deliberate borrowings from the paintings of such artists as Raphael and Correggio.
Anthony Vandyck Copley Fielding
English 1787-1855