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

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Bartholomeus van der Helst
Portrait of a Family

ID: 77439

Bartholomeus van der Helst Portrait of a Family
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Bartholomeus van der Helst Portrait of a Family


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Bartholomeus van der Helst

1613-1670 Dutch Bartholomeus Van Der Helst Galleries 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 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 special talent for composing large groups. Pickenoy 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 work. The successful execution of this portrait established van der Helst 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, Gemeldegal. 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 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. Its technical perfection, characterized by a well-modelled rendering of the figures and a smooth handling of the brush, dominated the rest of van der Helst oeuvre.  Related Paintings of Bartholomeus van der Helst :. | Portrait of a Girl in Pale Blue with an Ostrich Feather Fan | Governors of the archers' civic guard, Amsterdam | Nude drawing back the curtain | Self-Portrait | The Regents of the Kloveniersdoelen Eating a Meal of Oysters |
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Jacob van Loo
(1614 - 26 November 1670) was a Flemish painter who is considered one of the Dutch Masters of the 17th Century. Van Loo is known for his conversational groupings, his use of a subtle color palette and his nudes. He was the founder of the Van Loo family of painters. Van Loo was born in Sluis, Zeeland, in the Dutch Republic. Some sources have spe,culated that his father, Jan van Loo, may have been a notary, but more often his father is described as a painter from whom Jacob van Loo received his early training. Little is known of Van Loo's early history due to the destruction of the city archives in Sluis during World War II. His early influences included Thomas de Keyser and Jacob Adriaensz Backer. In 1642, van Loo moved to Amsterdam, where his contemporaries included Rembrandt, Frans Hals, and Bartholomeus van der Helst. In 1643 he married the sister of the painter, Martinus Lengele. The couple had six children. They lived on Rozengracht in the Jordaan district of Amsterdam. Eglon van der Neer became one of his pupils. In 1660, Van Loo fled the city after fatally stabbing someone during an altercation at an inn. He was sentenced to death in absentia which forever prevented his return to Holland. Van Loo settled in Paris, where he was admitted to the Academie de peinture et de sculpture. He died in Paris in 1670. Van Loo's work was done in the Baroque style that had originated in Rome. The Baroque style was popular throughout Europe during this period. Van Loo was a major influence on Johannes Vermeer as can be seen in Vermeer's painting, Diana and Her Companions. Van Loo painted many portraits. Among his subjects were Johan Huydecoper van Maarssenveen; his sister, Leonara Huydecoper, who was married to Jan J. Hinlopen; Joan Ortt, who was later involved with Antoinette Bourignon; and his wife. Jacob van Loo's son, Louis Abraham van Loo, was also a painter, as were his grandsons, Jean-Baptiste van Loo and Charles-Andra van Loo.
Ludovic Bassarab
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Francisco Oller y Cestero
San Juan,Puerto Rico 1833-Santurce 1917 Puerto Rican painter. He studied from 1851 to 1853 at the Real Academia de Bellas Artes de San Fernando in Madrid under Federico de Madrazo y Kentz and in Paris from 1858 to 1863 under Thomas Couture and Charles Gleyre at the Ecole Imperiale et Speciale de Dessin and at the Academie Suisse. There he met Camille Pissarro, Paul Cezanne and Armand Guillaumin, who together with Couture and the work of Courbet influenced his work towards Realism and Impressionism.






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