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

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Bartholomeus van der Helst
Portrait of a Girl in Pale Blue with an Ostrich Feather Fan

ID: 43156

Bartholomeus van der Helst Portrait of a Girl in Pale Blue with an Ostrich Feather Fan
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Bartholomeus van der Helst Portrait of a Girl in Pale Blue with an Ostrich Feather Fan


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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 Paulus Potter | Governors of the archers' civic guard, Amsterdam | Lady in Black | Portrait of a woman | Nude drawing back the curtain |
Related Artists:
KAUFFMANN, Angelica
Swiss Neoclassical Painter, 1741-1807 Swiss-born Italian painter. She began studying art in Italy as a child, showing great precocity, and in 1766 her friend Joshua Reynolds took her to London. There she became known for her decorative work with architects such as Robert Adam. Her pastoral compositions incorporate delicate and graceful depictions of gods and goddesses; though her paintings are Rococo in tone and approach, her figures are Neoclassical (see Classicism and Neoclassicism). Her portraits of female sitters are among her finest works.
diane
comtesse de guiche, known as la belle corisande with her daughter 1580 collection duc de grammont
Master Of Flemalle
Robert Campin (c. 1375 - 26 April 1444), now usually identified as the artist known as the Master of Flemalle, is usually considered the first great master of Flemish and Early Netherlandish painting. This had been a matter of controversy for decades; Campin's life is relatively well documented for the period, but no works in assessable condition could be securely connected with him, whilst a corpus of work had been attached to the unidentified "Master of Flemalle", named after the supposed origin of a work. Campin seems to have had relatives in Valenciennes. He first appears as settled in Tournai from the archives of 1405-6, as a free master of the guild of painters, and he bought citizenship in 1410, which suggests he was not born there. He eventually attained the office of dean of the guild, and wardenship of a church and other civic offices, and was running a large workshop. By 1432, however, he lost his civic positions because of scandals, and probably his role in political disturbances in the city. In 1429 he was found guilty of withholding evidence, and sentenced to go on a pilgrimage, and in 1432 was convicted of adultery and banished for a year. Margaret of Burgundy, wife of the Count of Holland and sister of John the Fearless, Duke of Burgundy intervened on his behalf, and this was reduced to a fine. The dated Werl Altarpiece (1438) shows he continued to work (the two outer wings are in the Prado; the main panel is lost).






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