Italian painter , (b. 1707, Verona, d. 1762, St. Petersburg) Italian painter. His artistic career began as a youthful distraction, but his talent quickly became apparent, and he entered the studio of Antonio Balestra in Verona, remaining there until he was 18. He spent the years 1725-7 in Venice and then moved c. 1728 to Rome, where he stayed for four years as a student of Francesco Trevisani. Between 1731 and 1734 he studied with Francesco Solimena in Naples before returning to Verona, where he set up his own studio and school. His most notable early independent works are multi-figured altarpieces (e.g. the Four Martyrs, 1745; Verona, church of the Ospedale di S Giacomo), which emulate 17th-century Roman and Neapolitan works. However, he also studied the smaller, more intimate paintings of Roman Baroque artists, and these influenced his later works. He fell victim to the wanderlust that appears to have been endemic to 18th-century Venetian painters, and c. 1751 he travelled to Vienna, where he was able to study works by Jean-Etienne Liotard, whose clean pictorial smoothness impressed him. He later moved to Dresden  Related Paintings of Pietro Antonio Rotari :. | Princess Elisabeth of Saxe | Self portrait | Sleeping Girl | Portrait of a Young Girl, La Penitente | Queen Maria Josepha in Polish costume. |
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John William Inchbold
1830-1888 English painter. He spent his early years in Leeds, where his father was a newspaper proprietor, but came to London around 1846 to study lithography in the firm of Day & Haghe. His obituary in The Athenaeum records that he went on to study at the Royal Academy Schools, but his name does not appear in the registers. He exhibited watercolours at the Society of British Artists in 1849 and 1850 and at the Royal Academy in 1851. At this period his work has a fluidity and a freedom of handling that is closer to Richard Parkes Bonington than to the prevailing style of Victorian watercolours. Around 1852 he came under the influence of the Pre-Raphaelite movement and radically altered his style. His oil painting of the Chapel, Bolton (exh. RA 1853; Northampton, Cent. Mus. & A.G.) is a meticulously rendered view of the abbey ruins in the Pre-Raphaelite manner. This was followed the next year by At Bolton (Leeds, C.A.G.), another view of Bolton Abbey, this time with a deer prominent in the foreground. Both paintings illustrate lines from William Wordsworth's poem 'The White Doe of Ryleston'. Wordsworth was also the inspiration for the small painting Study in March
Louis Rolland Trinquesse
(c.1746-1800) was a French painter.
Jan van Haensbergen
(1642-1705) was a Dutch Golden Age painter. He was registered in the Utrecht Guild of St. Luke in 1668 and in 1669 he was registered in the Confrerie Pictura in The Hague, where he worked until he died.According to Houbraken he was a student of Cornelius van Poelenburgh, and though he was quite successful in imitating his master's style, he switched to portraits since he could make a comfortable living that way.Though he is considered by some to have been born in Utrecht, he signed his name 'Joh. Haensbergh Gorco fecit', which leads historians to conclude he was from Gorinchem. His portraits show the influence of Caspar Netscher.