French Painter, 1835-1902  Related Paintings of Victor Huguet :. | Study of Azaleas | Classical hunting fox, Equestrian and Beautiful Horses, 068. | Italian Coast Scene with Ruined Tower | Landscape with Erminia and the Shepherds (mk17) | Impression |
Related Artists:
Lambert Jacobsz
1598-1636 Dutch Lambert Jacobsz Gallery Dutch painter. He was the son of a well-to-do Mennonite cloth merchant in Amsterdam. He served his apprenticeship there among the artists now called the Pre-Rembrandtists. After his marriage in 1620, commemorated by the poet Joost van den Vondel (1587-1639), he settled in Leeuwarden, his wife's native city, where he became a preacher in the Mennonite community and worked primarily as a painter. He was also active as an art dealer, as is known from his estate inventory, which records transactions in Amsterdam with the Mennonite art dealer and patron of Rembrandt, Hendrick van Uylenburgh. Two of Jacobsz.'s pupils were Govaert Flinck and Jacob Backer. His son, the painter ABRAHAM VAN DEN TEMPEL probably also studied with him before becoming Backer's pupil c. 1642-6.
POUSSIN, Nicolas
French Baroque Era Painter, 1594-1665 French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response,
Willem Maris
Dutch Painter, 1844-1910 Brother of Jacob Maris. He received his training as a painter from his brothers, Jacob Maris and Matthijs Maris. Although he briefly attended evening classes at the Academie in The Hague and was advised by the animal painter Pieter Stortenbeker (1828-98), he was basically self-taught; he was the only self-made man in the circle of Hague school artists. In 1862 he visited Oosterbeek where he met Anton Mauve, with whom he established a long friendship. In the same year he first entered a painting, Cows on the Heath (untraced), in the Tentoonstellung van Levende Meesters in Rotterdam. The themes of cows at pasture and ducks by the side of a ditch, which characterized the Dutch polder landscape in summer, became his hallmark. In the following year he exhibited Cows by a Pool (The Hague, Gemeentemus) in The Hague; it received discouraging reviews, as did the picture entered by his brother Matthijs. Painted in 1863, this work already employs Willem main motif and shows his attention to the handling of light (with effects of haze and backlighting).