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c. 1445 – May 17, 1510. Italian painter.

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Alma-Tadema, Sir Lawrence
This is our Corner

ID: 41539

Alma-Tadema, Sir Lawrence This is our Corner
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Alma-Tadema, Sir Lawrence This is our Corner


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Alma-Tadema, Sir Lawrence

b.Jan. 8, 1836, Dronrijp, Netherlands. d.June 25, 1912, Wiesbaden, Germany. Painter and designer of Dutch birth. The son of a notary, Alma-Tadema demonstrated an early artistic ability. In 1852 he entered the Antwerp Academy, where he studied under Gustaf, Baron Wappers, and Nicaise de Keyser. An important influence at this time was Louis De Taye, Professor of Archaeology at the academy and a practising artist. Alma-Tadema lived and worked with De Taye from 1857 to 1859 and was encouraged by him to depict subjects from the early history of France and Belgium. This taste for historical themes increased when Alma-Tadema entered Baron Henri Leys studio in 1859 and began assisting him with his monumental frescoes for the Antwerp Town Hall. While in Leys studio, Alma-Tadema produced several major paintings, for example the Education of the Children of Clovis (1861; ex-Sir John Pender priv. col., see Zimmern, p. 3) and Venantius Fortunatus Reading his Poems to Radagonda (1862; Dordrecht, Dordrechts Mus.), which are characterized by their obscure Merovingian subject-matter, rather sombre colouring and close attention to detail.  Related Paintings of Alma-Tadema, Sir Lawrence :. | A Coign of Vantage | The Death of the First-Born (mk23) | Portrait of Ignacy Jan Paderewski (mk23) | Albert Moore (mk23) | Joseph,Overseer of Pharaoh's Granaries (mk23) |
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Nicolas Chaperon
Nicolas Chaperon (Châteaudun, bapt. 19 October 1612 e Lyon 1656) was a French painter, draughtsman and engraver, a student in Paris of Simon Vouet whose style he adopted before he was further matured by his stay in Rome (1642-51) in the studio of Nicolas Poussin. In 1653-55 the consuls de Lyon called him to decorate the hôtel de ville but Chaperon dying almost as soon as he arrived, the commission passed to Thomas Blanchet. Chaperon made a name for himself with his suite of engravings after the Raphael Loggie of the Vatican, Rome, 1649, but art historians remember him for the stream of fulminating invective with which Poussin in his correspondence with Paul Freart de Chantelou described this unruly and vindictive practician who refused to carry through his copy of a Transfiguration. So little is known of Chaperon that this episode stands out.
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