Dutch Baroque Era Painter, ca.1620-1664 Dutch painter, draughtsman and etcher. He was born into prosperous circumstances; his mother, Maria Cornelis, inherited half the estate (gold, silver, paintings, drawings and prints) and all of the red chalk drawings of her father, Cornelis Cornelisz. van Haarlem, a renowned Mannerist artist. Bega's father was Pieter Jansz. Begijn (d 1648), a gold- and silversmith. Like other family members, Bega was probably Catholic. Houbraken's claim that Bega studied with Adriaen van Ostade is likely to be correct; this was probably before 24 April 1653, when Bega joined Vincent Laurentsz. van der Vinne in Frankfurt for a journey through Germany, Switzerland and France. Bega had returned to Haarlem by 1 September 1654, at which time he joined the Guild of St Luke.  Related Paintings of BEGA, Cornelis :. | Frederick Henry of Nassau, prince of Orange and Stadhouder | The Raft of the Medusa (mk10) | Fransk bondflicka med mjolkspannar | 1596 seglade hollandaren willem barents till novaja semlja dar hartyg skruvades upp ovanpa packisen | Still Life with Pipe and Tobacco |
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bores

Francis Danby
Irish Painter, 1793-1861 was a British painter of the Romantic eraBorn in the south of Ireland, he was one of a set of twins; his father, James Danby, farmed a small property he owned near Wexford, but his death, in 1807, caused the family to move to Dublin, while Francis was still a schoolboy. He began to practice drawing at the Royal Dublin Society's schools; and under an erratic young artist named James Arthur O'Connor he began painting landscapes. Danby also made acquaintance with George Petrie, and all three left for London together in 1824. This expedition, undertaken with very inadequate funds, quickly came to an end, and they had to get home again by walking. At Bristol they made a pause, and Danby, finding he could get trifling sums for water-color drawings, remained there working diligently and sending to the London exhibitions pictures of importance. There his large oil paintings quickly attracted attention. Danby painted "vast illusionist canvases" comparable to those of John Martin of "grand, gloomy and fantastic subjects which chimed exactly with the Byronic taste of the 1820s."The Upas Tree (1820) and The Delivery of the Israelites (1825) brought him his election as an Associate Member of the Royal Academy. He left Bristol for London, and in 1828 exhibited his Opening of the Sixth Seal at the British Institution, receiving from that body a prize of 200 guineas; and this picture was followed by two others on the theme of the Apocalypse. In 1829 Danby's wife deserted him, running off with the painter Paul Falconer Poole Danby left London, declaring that he would never live there again, and that the Academy, instead of aiding him, had, somehow or other, used him badly. For a decade he lived on the Lake of Geneva in Switzerland, becoming a Bohemian with boat-building fancies, painting only now and then. He later moved to Paris for a short period of time. He returned to England in 1840, when his sons, James and Thomas, both artists, were growing up. Danby exhibited his large (15 feet wide) and powerful The Deluge that year; the success of that painting, "the largest and most dramatic of all his Martinesque visions, revitalized his reputation and career. Other pictures by him were The Golden Age (c. 1827, exhibited 1831), Rich and Rare Were the Gems She Wore (1837), and The Evening Gun (1848). Some of Danby's later paintings, like The Woodnymph's Hymn to the Rising Sun (1845), tended toward a calmer, more restrained, more cheerful manner than those in his earlier style; but he returned to his early mode for The Shipwreck (1859).
Giovanni Antonio Fumiani
(1645-1710) was an Italian painter of the Baroque period. Born in Venice in 1645, he trained in Bologna under Domenico degli Ambrogi, a specialist in quadratura, but by 1668 he was back in Venice, where he painted a Virgin and Saints in San Benedetto. He was influenced by Ludovico Carracci and Alessandro Tiarini, and soon also became interested in the work of Paolo Veronese, so that he started to use elaborate architectural settings and brighter colours. He painted a Virgin Appearing to Pius V (1674; Vicenza, S Lorenzo), whose monumentality foreshadows Tiepolo, whereas mosaics in San Marco, created in 1677 from Fumianies cartoons, are closer to the idiosyncratic art of Pietro della Vecchia. He contributed to the decoration of San Rocco (1675, 1676, 1678), where he painted a large canvas of the Charity of St Roch on the ceiling of the nave, In his smaller paintings, however, such as the modelli (Florence, Uffizi) painted for the Ferdinand de Medici, Grand Prince of Tuscany, for whom he worked for a long time, with Niccole Cassana acting as intermediary, Fumiani revealed a lively decorative sense and a taste for animated, sensual subjects that produced works of great quality. His last work is the large lunette depicting Frederick III visiting St Zacharyes Convent in the Company of the Doge (Venice, San Zaccaria). The decoration of San Pantalon with scenes from the Life of St Pantaleon (1680-1704) utilized canvases to cover a large ceiling (25x50 m), an ambitious undertaking, both in its scale and in the unity of the magniloquent images, that parallels Andrea Pozzoes decoration at the church of Sant'Ignazio in Rome. Fumiani was responsible for painting what is claimed to the largest painting on canvas in the world and covers the whole of the ceiling of the church Chiesa di San Pantaleone Martire, known as San Pantalon, in Venice. The painting depicts The Martyrdom and Apotheosis of St Pantalon, which he painted from 1680 until 1704. He putatively died from a fall from a scaffold, although some sources date his death to six years after he stopped work on the canvas