Born 1606, Died 1669.One of the great Dutch painters and printmakers of the 17th century, Rembrandt van Rijn is best known for his expressive use of light and shadow (also called chiaroscuro) in his many portraits. Raised in Leiden, he studied with Pieter Lastman (1583-1633) in Amsterdam, then returned to Leiden around 1625 and set up shop as a teacher and portrait artist. Sometime between 1630 and 1632 Rembrandt relocated to Amsterdam, where he spent the rest of his career. Though he had his detractors (some of whom considered him coarse and "low born"), Rembrandt was successful and famous during his lifetime, though he fell on financial hard times in his later years. He was a master printer and produced hundreds of group portraits and historical paintings, including The Anatomy Lesson of Dr. Tulp (1632), The Military Company of Captain Frans Banning Cocq (1642) and Aristotle with a Bust of Homer (1653). His portraits -- including a lifelong trail of intriguing and rather frank self-portraits -- reveal his interest in psychological study and continue to be admired as landmarks in Western art. The Military Company of Captain Frans Banning Cocq is also known as "The Night Watch" because it was thought the painting depicted a nighttime scene. When the painting was cleaned in the 1940s it became obvious that it depicted a daytime scene... He married Saskia van Ulenburgh (also Uylenburgh) in 1634.   Related Paintings of REMBRANDT Harmenszoon van Rijn :. | Head of an old man | Rocky Landscape | Young Woman Trying on Earrings | Musical Company | Saint Matthem and the Angel (mk33) |
Related Artists:
Morbelli, Angelo
Italian, 1853-1919 Italian painter. He received his first lessons in drawing in Alessandria, and in 1867 he travelled on a local study grant to Milan, where he was based for the rest of his life. He enrolled at the Accademia di Brera and from 1867 to 1876 studied drawing and painting there under Raffaele Casnedi and Giuseppe Bertini, whose influence is seen in both the subject-matter and technique of his early works. These include perspectival views, anecdotal genre scenes and history paintings. In the Dying Goethe (1880; Alessandria, Pin. Civ.) the theatrical setting, enriched by a sophisticated execution and a well-modulated use of colour, derives from the teaching of Casnedi and Bertini, while the historic-romantic quality of this painting also recalls the style of Francesco Hayez. In the years that followed, Morbelli began to concentrate more on themes such as labour and the life of the poor, influenced perhaps by Realist painters of the 1880s such as Achille D'Orsi, Francesco Paolo Michetti and Teofilo Patini. Morbelli's Return to the Stable
ANTONIAZZO ROMANO
[Italian Early Renaissance Painter, 1430-ca.1510 Antoniazzo was born in the Colonna quarter of Rome. He was influenced at first by the decorative manner of Benozzo Gozzoli and Beato Angelico, as well as by the local painters of Lazio. His first recorded work is from 1461, a replica (untraced) of the miraculous Virgin and Child of St. Luke in the Basilica of Santa Maria Maggiore of Rome, for the seignior of Pesaro, Alessandro Sforza. From 1464 he worked for the papal court, producing at first a triptych of the Virgin and Child with Saints in Rieti. In 1467 he completed the decoration of the funerary chapel of Cardinal Bessarion in the church of Santi Apostoli of Rome, not far from his birthplace. In the centre of the decoration was an icon of the Virgin, now in the Chapel of St Anthony, a copy of the Byzantine icon in the Santa Maria in Cosmedin, the church of the Greeks in Rome. This icon in the Santi Apostoli is one of the most remarkable examples of Antoniazzo's considerable production of Virgins, generally taken from Byzantine models: he was indeed a much sought-after copier of icons. Later he worked to a series of frescoes in the Monastery of Tor de' Specchi in Rome, featuring stories of the life of S. Francesca Romana, and to the decoration of the public rooms of the Palazzo Venezia. In the 1470s Antoniazzo worked to the decoration of the Vatican Palace with artists like Perugino, Melozzo da Forl?? and Ghirlandaio. Through their influence his figures acquired gentler expressions and their garments were ornamented with decorative patterns, though always retaining several Medieval features. Together with Melozzo he worked to frescoes in Santa Maria sopra Minerva, and subsequently painted for that church a famous Annunciation (1482). The painting shows the Dominican Juan de Torquemada (cardinal) (d. 1468) presenting poor girls dowered by the guild of the Annunciation that he founded to the Virgin Mary. In the years between 1475 and 1480 Antoniazzo's production of altarpieces and panels with images of the Virgin increased as a result of the encouragement of the cult of the Virgin by Pope Sixtus IV. His later works show an increasing mannerism in their features, which were later imitated by several painters, whose works had been often attributed to the master. Antoniazzo was one of the three founders of the Compagnia di San Luca, the guild of painters and illuminators in Rome, and signed the statutes in 1478.
Henri Rousseau
French 1844-1910 Henri Rousseau Locations He was born in Laval in the Loire Valley into the family of a plumber. He attended Laval High School as a day student and then as a boarder, after his father became a debtor and his parents had to leave the town upon the seizure of their house. He was mediocre in some subjects at the high school but won prizes for drawing and music. He worked for a lawyer and studied law, but "attempted a small perjury and sought refuge in the army," serving for four years, starting in 1863. With his father's death, Rousseau moved to Paris in 1868 to support his widowed mother as a government employee. In 1871, he was promoted to the toll collector's office in Paris as a tax collector. He started painting seriously in his early forties, and by age 49 he retired from his job to work on his art. His wife died in 1888 and he later remarried. Rousseau claimed he had "no teacher other than nature", although he admitted he had received "some advice" from two established Academic painters, Felix Auguste-Clement and Jean-Leon Gerome. Essentially he was self-taught and is considered to be a naive or primitive painter.