Dutch 1600-1653 Dutch painter, draughtsman, etcher and stained-glass designer. He was one of the leading marine and landscape artists of the Dutch school and decisively influenced the direction of Dutch marine art during the 1630s and 1640s. His late works anticipated the shift from the monochrome or tonal phase of Dutch marine art to the more classical style of Jan van de Cappelle and Willem van de Velde the younger (see MARINE PAINTING). Although de Vlieger reputation rests chiefly on his marine paintings, he was also a notable draughtsman and etcher.   Related Paintings of Simon de Vlieger :. | Visiting the Fleet | Stormy Sea | Visit of Frederick Hendriks II | Visit of Frederick Hendriks II | A Beach with Shipping Offshore |
Related Artists:
Francesco Vecellio
(c. 1475 - 1560) was an Italian painter of the early Renaissance, best known as the elder brother of the painter Titian. In his youth, he was a soldier. As a painter, he was mainly active in 1520-1530s in Cadore. In 1524, he signed an altarpiece for San Vito in Cadore. In 1540s, he painted a polyptych at Candide. In late 1540s he painted the organ shutters of San Salvatore in Venice. He painted an Annunciation for San Nicola di Bari, now in the Accademia.
William Cruikshank
William Cruikshank (December 25, 1848, Broughty Ferry, Scotland e May 19, 1922, Kansas City, Missouri) was a British painter and the grand-nephew of George Cruikshank. He studied art at the Royal Scottish Academy in Edinburgh, at the Royal Academy in London, and in Paris. His last studies were interrupted by the Franco-Prussian War. In 1871 he settled in Canada, opened a studio in Toronto and for twenty-five years was an instructor in the Central Ontario School of Art, later the Ontario College of Art. In 1894 he was elected a member of the Royal Canadian Academy of Arts and acquired a considerable reputation as a portrait and figure painter, and as a painter of Canadian scenes. Some of his paintings are in the National Gallery of Canada
Hippolyte Flandrin
1809-1864 Hippolyte Flandrin Location Painter and lithographer, brother of Auguste Flandrin. He was initially discouraged from fulfilling his early wish to become an artist by Auguste lack of success, but in 1821 the sculptor Denys Foyatier, an old family friend, persuaded both Hippolyte and Paul to train as artists. He introduced them to the sculptor Jean-Francois Legendre-Heral (1796-1851) and the painter Andre Magnin (1794-1823), with whom they worked copying engravings and plaster casts. After Magnin death, Legendre-Heral took the brothers to the animal and landscape painter Jean-Antoine Duclaux (1783-1868). Hippolyte and Paul had both learnt the techniques of lithography from Auguste at an early age, and between the ages of 14 and 19 Hippolyte produced a number of lithographs, which he sold to supplement the family income. Many reflected his passion for military subjects (e.g. Cossacks in a Bivouac, c. 1825; Paris, Bib. N.). In 1826 the two brothers entered the Ecole des Beaux-Arts in Lyon, where Hippolyte studied under Pierre Revoil. Showing a precocious talent, he was soon advised to move to Paris, and having left the Ecole des Beaux-Arts in Lyon in 1829, he walked to the capital with his brother Paul; together they enrolled in the studio of Ingres. After several unsuccessful attempts, Hippolyte won the Grand Prix de Rome in 1832 with Theseus Recognized by his Father (1832; Paris, Ecole N. Sup. B.-A.), despite having suffered from cholera during the competition. His success was all the more spectacular given the general hostility to Ingres; Hippolyte was the first of his pupils to be awarded this prestigious prize. Hippolyte arrived in Rome in 1833; Paul joined him there in 1834. After first working on such subjects as Virgil and Dante in Hell (1836; Lyon, Mus. B.-A.), Hippolyte developed a taste for religious works during this stay. From 1836 to 1837 he worked on St Clare Healing the Blind for the cathedral in Nantes, winning a first-class medal at the 1837 Salon, and in 1838 he painted Christ Blessing the Children (Lisieux, Mus. Vieux-Lisieux), which was exhibited at the 1839 Salon.