Dutch 1599-1641 Anthony Van Dyck Locations Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck studies in oil of characterful heads were included in Rubens estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses, where they were appreciated as much for their own sake as for the identities and families of the sitters.  Related Paintings of Anthony Van Dyck :. | francois gerard | bermard boutet de monvel | The Painter Marten Ryckaert | salvador dali | johnsinger sargent |
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Pierre Mignard
French Baroque Era Painter, 1612-1695 Pierre Mignard (7 novembre 1612 - May 30, 1695), called "Le Romain" to distinguish him from his brother Nicolas, was a French painter. He was born at Troyes, and came of a family of artists; he also needs to be distinguished from his nephew Pierre (1640-1725), often called "Pierre II" or "Le Chevalier". In 1630 he left the studio of Simon Vouet for Italy, where he spent twenty-two years, and made a reputation which brought him a summons to Paris. Successful with his portrait of the king, and in favour with the court, Mignard pitted himself against Le Brun, declined to enter the Academy of which he was the head, and made himself the centre of opposition to its authority. The history of this struggle is most important, because it was identical, as long as it lasted, with that between the old gilds of France and the new body which Colbert, for political reasons, was determined to support.. Portrait of Louise de Kerouaille, Duchess of Portsmouth. Wikimedia Commons has media related to: Pierre Mignard Shut out, in spite of the deserved success of his decorations of the cupola of Val de Grace (1664), from any great share in those public works, the control of which was the attribute of the new Academy, Mignard was chiefly active in portraiture. Turenne, Moliere, Bossuet, Maintenon (Louvre), La Valliere, Sevigne, Montespan, Descartes (Castle Howard), all the beauties and celebrities of his day, sat to him. His readiness and skill, his happy instinct for grace of arrangement, atoned for want of originality and real power. With the death of Le Brun (1690) the situation changed. Mignard deserted his allies, and succeeded to all the posts held by his opponent. These late honours he did not long enjoy. In 1695 he died whilst about to commence work on the cupola of the Invalides. His best compositions have been engraved by Audran, Edelinck, Masson, Poilly and others. There is a good selection of works by Pierre, Nicolas, and Pierre II in Avignon at the Mus??e Calvet. The Courtauld Institute of Art (London), Harvard University Art Museums, the Hermitage Museum, the Honolulu Academy of Arts, Kunst Indeks Danmark, the Louvre, Mus??e d'art et d'histoire (Geneva), Mus??e des Augustins (Toulouse, France), Mus??e Ingres (Montauban, France), Museo Lombardi (Parma, Italy), the Museum of Fine Arts, Houston, the National Gallery, London, the National Portrait Gallery, London, the North Carolina Museum of Art, the Portland Art Museum and Versailles are among the public collections holding works by Pierre Mignard
Bartolomeo Bimbi
1648-1723,was a Florentine painter of still lifes spurred by his patrons including Cosimo III, Grand Duke of Tuscany to paint large canvases of flora and fauna for the Medici Villa dell'Ambrogiana and della Topaia, now conserved in the Pitti Palace and the Museo Botanico dell'Universita. He partly was following the tradition of Jacopo Ligozzi. He was a pupil of Lorenzo Lippi and Onorio Marinari. Others claim he was a pupil of Angelo Gori
Sir Lawrence Alma-Tadema,OM.RA,RWS
1836-1912