French Rococo Era Painter, 1733-1808 French painter, draughtsman, etcher and landscape designer. He was one of the most prolific and engaging landscape painters in 18th-century France. He specialized in architectural scenes in which topographical elements derived from the buildings and monuments of ancient and modern Italy and of France are combined in often fantastic settings or fictitious juxtapositions. The fluid touch and rich impasto employed in his paintings  Related Paintings of ROBERT, Hubert :. | Washerwomen | Imaginary View of the Grande Galerie in the Louvre in Ruins AG | Architectural Landscape with a canal | The Pont du Gard AF | Imaginary View of the Grande Galerie in the Louvre in Ruins |
Related Artists:
Jacopo Zanguidi Bertoia
Jacopo Bertoia, also known as Giacomo Zanguidi or Jacopo Zanguidi or Bertoja, (1544 - ca. 1574), was an Italian painter of a late-Renaissance or Mannerist style that emerged in Parma towards the end of the 16th century. He was strongly influenced by Parmigianino. Born in Parma, he apparently studied in Bologna with Sabatini. His masterpiece is the Sala del Bacio, in the Palazzo del Giardino in Parma. He also helped decorate the Sala di Orfeo in the same palace. He was part of the team that decorated the walls of the Oratorio del Gonfalone (Entry into Jerusalem) in Rome. He was commissioned by Cardinal Alessandro Farnese in 1572-1573 to paint galleries (Sale del Giudizio, della Penitenza, dei Sogni, as well as the Anticamera degli Angeli) of the Villa Farnese in Caprarola, where he replaced the role of Taddeo Zuccari.
William James Hubard
British/American Artist , Silhouettist , Sculptor, and Scientist , 1807-1862
Giorgio Vasari
1511-74 Italian painter, architect, and writer. Though he was a prolific painter in the Mannerist style, he is more highly regarded as an architect (he designed the Uffizi Palace, now the Uffizi Gallery), but even his architecture is overshadowed by his writings. His Lives of the Most Eminent Architects, Painters, and Sculptors (1550) offers biographies of early to late Renaissance artists. His style is eminently readable and his material is well researched, though when facts were scarce he did not hesitate to fill in the gaps. In his view, Giotto had revived the art of true representation after its decline in the early Middle Ages, and succeeding artists had brought that art progressively closer to the perfection achieved by Michelangelo.