1661-1722 French Antoine Coypel Location Antoine studied at the Coll?ge d Harcourt and then trained in his father studio and at the Academie Royale. In 1672 No Coypel was made Director of the Academie de France in Rome, and Antoine, who accompanied his father to Italy, benefited from the education given to the students there. He also joined in their long sessions spent copying Raphael frescoes in the Vatican Loggie and the works of the Carracci and Domenichino in the Palazzo Farnese. He met Giovanni Lorenzo Bernini and Carlo Maratti and was awarded a drawing prize by the Accademia di S Luca. During his return journey Antoine stopped in northern Italy to study the works of Correggio   Related Paintings of Antoine Coypel :. | The Swooning of Esther | Philippe Coypel | Eliezer and Rebecca | Democritus | Portrait of the Artist with his Son,Charles-Antoine |
Related Artists:
Willem Wissing
Willem Wissing, also known as William Wissing (1656 - 10 September 1687), was a Dutch portrait artist. He was born in either Amsterdam or The Hague, and studied at The Hague under Willem Doudijns (1630 - 97) and Arnoldus van Ravestyn (1615 - 90). In 1676, he moved to England, where he studied with and assisted Peter Lely. After Lely's death in 1680, Wissing emerged as his most important pupil. Godfrey Kneller was the only contemporary portrait artist in England to rival Wissing. Wissinges royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark and James Scott, 1st Duke of Monmouth.
Ferdinand von Olivier
painted Loisachtal in 1842-1845
Johann Michael Rottmayr
Austrian,1654-1730 Austrian painter and draughtsman. He is most notable for large-scale religious and secular decorative schemes, and his career heralded the important 18th-century German contribution to late Baroque and Rococo fresco painting. He was probably taught by his mother, who was a painter of wooden sculpture. Between 1675 and 1687-8 he was in Venice as a pupil and assistant of the Munich artist Johann Carl Loth, whose studio attracted many painters from Austria and southern Germany. It is possible that Rottmayr also visited other Italian cities, in particular Bologna and Rome. He returned to Salzburg in the late 1680s a mature painter and immediately received commissions for panels and frescoes. In 1689 he painted mythological scenes for the Karabinierisaal at the Residenz in Salzburg (in situ); in composition and style these are close to high Baroque models, particularly the work of Pietro da Cortona and Peter Paul Rubens. Such models, as well as the example of Loth, and Venetian painting, had an important influence on Rottmayr's panel paintings of this period, for example the Sacrifice of Iphigenia (c. 1691; Vienna, Belvedere) or St Agnes (1693-5) and St Sebastian (1694; both Passau, Cathedral). In these, the solidity of the figures is emphasized through the use of intense colours. For Rottmayr, however, the rational development of the figures and the composition was less important than the overall effect achieved by the use of colour. Incorrect details of anatomy and perspective found compensation in greater expressiveness, mainly conveyed by gesture and pose. Rottmayr's images are filled with plastic elements, creating a staccato effect. Several very important early commissions paved the way for Rottmayr's move to Vienna in the late 1690s.