Dutch Baroque Era Painter, 1610-1685 Painter, draughtsman and etcher. According to Houbraken's rather unreliable biography, he was a pupil concurrently with Adriaen Brouwer of Frans Hals in Haarlem. Hals influenced him very little, whereas Brouwer, who was described as 'known far and wide' as early as 1627, had a decisive influence on the evolution of Adriaen van Ostade's always idiosyncratic portrayal of peasant life. The first documentary mention of Adriaen van Ostade as a painter is in 1632 (Schnackenburg, 1970). Most of his paintings are signed and dated, the earliest firmly dated example being the Peasants Playing Cards  Related Paintings of Adriaen van ostade :. | Sight | Peasant Family in a Cottage Interior | Cutting the Feather | An Old Woman | The cottage dooryard. |
Related Artists:
Jozef Chelmonski
(November 7, 1849 -- April 6, 1914) was a Polish painter. Chełmonski was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, he studied in Warsaw Drawing Class (1867--1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmonski lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. He also had studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmonski visited the Polish territories (Poland as a country did not exist then), Tatra Mountains and Ukraine. His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmonski went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased. From 1878 to 1887 Chełmonski visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in Kuklawka Zarzeczna village. Contact with his homeland and nature revealed quality in his artworks. From that time are the best liked Chełmonski's paintings such as Partridge on the Snow, The Storks or Before Thunderstorm. Chełmonski represented the trend in art called "Polish Patriotic Painting". He died in Kuklawka near Grodzisk Mazowiecki in 1914.
Master of Saint Giles
The Master of Saint Giles (French: Maître de Saint-Gilles) was a Franco-Flemish painter active, probably in Paris, about 1500, working in a delicate Late Gothic manner, with rendering of textures and light and faithful depictions of actual interiors that show his affinities with Netherlandish painting. It is not clear whether the Master of Saint Giles was a French painter who trained in the Low Countries (perhaps more likely), or a Netherlander who emigrated to France. His pseudonym was given him by Max Friedländer, who reconstructed part of the anonymous painter's oeuvre, starting from two panels devoted to Saint Giles (a Miracle and a Mass) in the National Gallery, London, that were part of the lefthand shutter of an altarpiece, and two further panels now in Washington from the same altarpiece. The hand of an assistant can be discerned in the Baptism of Clovis at the National Gallery of Art, Washington, who also have a panel with Episodes from the Life of a Bishop-Saint - perhaps Saint Leu, Saint Denis or Saint Remy. All four panels have, or had, single grisaille figures of saints (Saints Peter, Giles, Denis and an unidentified bishop-saint) in niches, imitating sculpture, on the reverse. The Washington pair, which were in poor condition, have been separated and are lost, although photographs exist. Undoubtedly there were further panels, whose subjects cannot be guessed, as the combination of scenes is original.
George Bellows
1882-1925 Growing prestige as a painter brought changes in his life and work. Though he continued his earlier themes, Bellows also began to receive portrait commissions, as well as social invitations, from New York's wealthy elite. Additionally, he followed Henri's lead and began to summer in Maine, painting seascapes on Monhegan and Matinicus islands. At the same time, the always socially conscious Bellows also associated with a group of radical artists and activists called "the Lyrical Left", who tended towards anarchism in their extreme advocacy of individual rights. He taught at the first Modern School in New York City (as did his mentor, Henri), and served on the editorial board of the socialist journal, The Masses, to which he contributed many drawings and prints beginning in 1911. However, he was often at odds with the other contributors because of his belief that artistic freedom should trump any ideological editorial policy. Bellows also notably dissented from this circle in his very public support of U.S. intervention in World War I. In 1918, he created a series of lithographs and paintings that graphically depicted the atrocities committed by Germany during its invasion of Belgium. Notable among these was The Germans Arrive, which was based on an actual account and gruesomely illustrated a German soldier restraining a Belgian teen whose hands had just been severed. However, his work was also highly critical of the domestic censorship and persecution of anti-war dissenters conducted by the U.S. government under the Espionage Act.