English Romantic Painter, 1775-1802 English painter, draughtsman and printmaker. With his rival, J. M. W. Turner, he extended the technical possibilities of watercolour and in doing so demonstrated that watercolours could have the visual impact and emotional range of oils. Although close in style throughout the 1790s, by 1800 Turner and Girtin were beginning to diverge: whereas the former dissolved forms to express his idea of Nature in a state of flux, the latter sought out a landscape's underlying patterns to convey his awe of Nature's permanence as well as its grandeur. Girtin's reduction of landscape to simple and monumental forms  Related Paintings of Thomas Girtin :. | Guisborough Priory, Yorkshire | The White House at Chelsea | durham cathedral and bridge | Lindisfarne | Rue Saint-Denis in Paris |
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Rene Herisson
Rene Herisson (ne a Cognac (Charente) le 24 mai 1857 - decede le 4 janvier 1940) est un poete et peintre animalier francais
VOUET, Simon
French Baroque Era Painter, 1590-1649 French painter and draughtsman. Although at the time regarded as one of the leading French painters of the first half of the 17th century, he is now known more for his influence on French painting than for his actual oeuvre. He made his reputation in Italy, where he executed numerous portraits for aristocratic patrons and was commissioned for religious subjects. Although the early Italian works show the influence of Caravaggio, his work was subsequently modified by the Baroque style of such painters as Lanfranco and the influence of the Venetian use of light and colour. When he was summoned back to France by Louis XIII in 1627 he thus brought with him an Italian idiom hitherto unknown in France that revitalized French painting
BATONI, Pompeo
Italian Rococo Era Painter, 1708-1787 He was born in Lucca, the son of a goldsmith, Paolino Batoni. He moved to Rome in 1727, and apprenticed with Agostino Masucci, Sebastiano Conca and/or Francesco Imperiale (1679-1740). By the early 1740s, however, he started to receive independent commissions. In 1741, he was inducted into the Accademia di San Luca. His celebrated painting, The Ecstasy of Saint Catherine of Siena (1743) illustrates his academic refinement of the late-Baroque style. Another masterpiece, his Fall of Simon Magus was painted initially for the St Peter's Basilica. Batoni became a highly-fashionable painter in Rome, particularly after his rival, the proto-neoclassicist Anton Raphael Mengs, departed for Spain in 1761. Batoni befriended Winckelmann and, like him, aimed in his painting to the restrained classicism of painters from earlier centuries, such as Raphael and Poussin, rather than to the work of the Venetian artists then in vogue. He was greatly in demand for portraits, particularly by the British traveling through Rome , who took pleasure in commissioning standing portraits set in the milieu of antiquities, ruins, and works of art. There are records of over 200 portraits by Batoni of visiting British patrons . Such "Grand Tour" portraits by Batoni came to proliferate in the British private collections, thus ensuring the genre's popularity in the United Kingdom, where Sir Joshua Reynolds would become its leading practitioner. In 1760, the painter Benjamin West, while visiting Rome would complain that Italian artists "talked of nothing, looked at nothing but the works of Pompeo Batoni". In 1769, the double portrait of Joseph II and Leopold II won an Austrian nobility for Batoni. He also portrayed Pope Pius VI. According to a rumor, he bequeathed his palette and brushes to Jacques-Louis David.