English Painter, 1765-1836 was an English painter. Westall was the more successful of two half-brothers (both sons of a Benjamin Westall, from Norwich), who each became painters. His younger half-brother was William Westall (1781C1850), a much-travelled landscape painter. Born on 2 January 1765 in Reepham near Norwich (where he was baptised at All Saints on 13 January in the same year) Richard Westall moved to London after the death of his mother and the bankruptcy of his father in 1772. He was apprenticed to a heraldic silver engraver in 1779 before studying at the Royal Academy School of Art from 10 December 1785. He exhibited at the Academy regularly between 1784 and 1836, became an Associate in November 1792 and was elected an Academician on 10 February 1794. From 1790 to 1795 he shared a house with Thomas Lawrence (later Sir), the future Royal Academy president, at 57 Greek Street, on the corner of Soho Square, each of the artists placing their name on one of the entrances. His works C many in water-colour - caused great interest in the late years of the 18th century when he was considered by his chief patron Richard Payne Knight as an outstanding artist of the picturesque. He painted works in a neo-classical style for John Boydell's Shakespeare Gallery and for Henry Fuseli's Milton Gallery. His painting of John Milton and his daughters hangs in Sir John Soane's Museum in London. A number of scenes in which Westall depicts events in the life of Horatio Nelson are at the Maritime Museum. Westall was a prolific illustrator of books of poets and writers including Sir Walter Scott and Oliver Goldsmith, Byron - who greatly admired his work, stating that "the brush has beat the poetry". He also illustrated editions of the Bible,  Related Paintings of Richard Westall :. | The Coronation of the Doge on the Staircase of the Giants at the Ducal Palace (mk05) | The communion | Portrait of Wladyslaw Gurowski | Portrait of Joseph Roulin | Interior of a Collectors Gallery of Paintings and Objets dArt |
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Dutch painter (b. 1590/91, Durgerdam, d. 1655, Durgerdam) Dutch painter, etcher and draughtsman. He was the son of an aristocratic Catholic Amsterdam merchant and moved to the city with his family in 1605. He was the most prolific of the history painters now called the PRE-REMBRANDTISTS, whose representations of biblical and mythological narratives, as well as of more recent secular history, give particular emphasis to dramatic and psychological effects. After working initially as a draughtsman and etcher, Moeyaert soon made his name as a painter. Landscapes with animals feature prominently in both his etchings and his paintings. At first he followed the lead of Adam Elsheimer, then of fellow Pre-Rembrandtists Pieter Lastman and Jan and Jacob Pynas, eventually, in the mid-1630s,
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BARTOLOMEO, Fra
b. 1473, Firenze, d. 1517 b. 1473, Firenze, d. 1517 He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Porta ("Gate") San Pier Gattolini. Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli. In the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a direct visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence. The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on July 26, 1500. The following year he entered the convent of San Marco. He renounced painting for several years, not resuming until 1504 when he became the head of the monastery workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Bianco's family chapel in the Badia Fiorentina, finished in 1507. Soon thereafter, Raphael visited Florence and befriended the friar. Bartolomeo learned perspective from the younger artist, while Raphael added skills in coloring and handling of drapery, which was noticeable in the works he produced after their meeting. With Raphael, he remained on the friendliest terms, and when he departed from Rome, left in his hands two unfinished pictures which Raphael completed. At the beginning of 1508 Bartolomeo moved to Venice to paint a Holy Father, St. Mary Magdalene and St. Catherine of Siena for the Dominicans of San Pietro Martire in Murano, influenced somewhat by Venetian colorism. As the Dominicans did not pay the work, he took it back to Lucca, where it can be seen now. Also in Lucca, in the October 1509, he painted by Albertinelli an altarpiece with Madonna and Child with Saints for the local cathedral. On November 26, 1510 Pier Soderini commissioned him an altarpiece for the Sala del Consiglio of Florence, now in the Museum of San Marco. Two years later he finished another altarpiece for the cathedral of Besancon.