Related Paintings of unknow artist :. | Classical hunting fox, Equestrian and Beautiful Horses, 105. | Perspective view | A sporting dog lying down | Judge Peleg Arnold | Illuminated Chronicle |
Related Artists:
Paul Chenavard
Lyons 1807 - Paris 1895.
HELST, Bartholomeus van der
Dutch Baroque Era Painter, 1613-1670 Dutch painter. He was the son of a Haarlem inn-keeper and presumably undertook part or all of his training in Amsterdam. His earliest works suggest that the painter Nicolaes Eliasz. Pickenoy was his master. Although van der Helst had probably already established himself as an independent master by the time he married Anna du Pire in Amsterdam in 1636, his earliest known work, a portrait of The Regents of the Walloon Orphanage, Amsterdam (Amsterdam, Maison Descartes), dates from 1637. Stylistically it is close to the work of Pickenoy. His portrait of a Protestant Minister of 1638 (Rotterdam, Boymans-van Beuningen) reveals the influence of Rembrandt. The young artist must have risen rapidly to fame in Amsterdam, for as early as 1639 he received the prestigious commission for a large painting for the Kloveniersdoelen (Arquebusiers' or Musketeers' Hall): The Civic Guard Company of Capt. Roelof Bicker and Lt Jan Michielsz. Blaeuw (Amsterdam, Rijksmus.), which formed part of the same series as Rembrandt's 'Night Watch' (Amsterdam, Rijksmus.). Van der Helst may not have completed this commission until 1642 or 1643. The ingenious arrangement of the figures in a broad composition shows the artist's special talent for composing large groups. Pickenoy's influence is less noticeable here than in the portrait of 1637; the self-assured poses of the individual figures were to become a characteristic feature of van der Helst's work. The successful execution of this portrait established van der Helst's reputation: from 1642, when he began to receive an increasing number of commissions for individual portraits, until 1670 he was the leading portrait painter of the ruling class in Amsterdam. From 1642 his technique in portrait painting gradually became more fluent and the rendering of costume materials more detailed. Some typical portraits of his earlier period are those of Andries Bicker (Amsterdam, Rijksmus.), his wife Catharina Gansneb Tengnagel (Dresden, Gem?ldegal. Alte Meister) and their son Gerard Bicker (Amsterdam, Rijksmus.), all of 1642, and the Portrait of a Young Girl (1645; London, N.G.). In 1648 van der Helst painted a second civic guard portrait, The Celebration of the Peace of M?nster at the Crossbowmen's Headquarters, Amsterdam (Amsterdam, Rijksmus.), a superbly composed and well painted portrait that, until the late 19th century, was considered one of the masterpieces of the Golden Age but later lost popularity because of its smooth and modish execution. It can nevertheless still be regarded as one of the most important group portraits of the 17th century.
Gerard Seghers
(Antwerp, 1591-18 March 1651), also Zegers, was a Flemish Baroque painter and one of the leading Caravaggisti in the Southern Netherlands. He was the son of an innkeeper but not related to the jesuit and painter Daniel Seghers. He was possibly a student of either Abraham Janssens or Hendrick van Balen, and he showed great talent, because in 1608 aged only 17 he is listed as a master in the Guild of St. Luke. It was during his trip to Italy around 1613 that he came under the influence of Caravaggio's followers. Bartolomeo Manfredi, in particular, was influential. Many other Dutch and Flemish painters were working in the style there, such as Gerard Honthorst, which is strongly characterized half-length figures illuminated by strong lighting and dramatic chiaroscuro. One work from this period is his Judith with the Head of Holofernes in the Galleria Nazionale d'Arte Antica, Rome. Caravaggism, both in history and monumental genre paintings, continued to mark Seghers's works when he returned to Antwerp around 1620. The Patient Job, National Gallery, Prague.He married on his return to Antwerp (ca.1621) with Catharina Wouters (d.1656), with whom he had eleven children. His son Jan-Baptist Seghers (1624-1670) also became a painter. After 1630, his palette lightens up considerably and the influence of Peter Paul Rubens is noticeable in paintings like the Adoration of the Magi (1630) in the Church of Our Lady, Bruges.