(1617 - 1692) was a Dutch perspective painter. In contrast to Pieter Jansz Saenredam, who emphasized architectural accuracy, De Witte was more concerned with the atmosphere of his interiors. Though few in number, de Witte also produced genre paintings. De Witte was born in Alkmaar and learned geometry from his father, a schoolmaster. He joined the local Guild of St Luke in 1636. After a stay in Rotterdam, he moved to Delft and studied with Evert van Aelst. In 1651 de Witte settled in Amsterdam where his first wife, Geerje Arents, died in 1655. He then married a 23-year-old orphan, Lysbeth van der Plas, who exercised a bad influence on de Witte's adolescent daughter. In December 1659 both were arrested for theft from a neighbor.Lysbeth, pregnant, had to leave the city for a period of six years; she lived outside the city walls and died in 1663. Following the arrest of his wife and child, de Witte was forced to indenture himself to the Amsterdam notary and art dealer Joris de Wijs, surrendering all of his work in exchange for room, board, and 800 guilders annually. De Witte broke the contract, was sued by the dealer, and forced to indenture himself further as a result. Several patrons provided de Witte with support, but these relations did not work out well, for he tended to shout at his clients and at people watching him at work in churches. Records tell of his gambling habit and a fight with Gerard de Lairesse. According to Arnold Houbraken, after an argument about the rent, de Witte hanged himself from a canal bridge in 1692. The rope broke and de Witte drowned. Because the canal froze that night, his corpse was not found until eleven weeks later   Related Paintings of Emanuel de Witte :. | The Adoration of the Shepherds | Indio Bravo | Portrait of Pierre Joseph Proudhon | La Punta della Dogana (Custom Point) dfg | Sweet Nothings by Godward |
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Tadeusz Ajdukiewicz
1852 in Wieliczka ?C January 9, 1916 in Krak??w) was a Polish painter. From 1868 to 1873, he followed Władysław Luszczkiewicz classes in the Fine art school of Krakow. Later, he was in Vienna and Munich and in J??zef Brandt's atelier. In 1877, he travelled to Paris and Near East. In 1882, he lived in Vienna, where he worked for the aristocracy. In 1883, he went to London, where he made Prince of Wales' portrait. In 1884, to Constantinople, he was sultan Abdhulhamid II's guest. And he woked later in Sofia, Saint Petersburg and Bucharest. He joined the Polish Legions in 1914, during World War I, and he died in one of the battles of this war. He's first cousin was Zygmunt Ajdukiewicz.
Levitsky, Dmitry
Russian Painter, 1735-1822 .Russian painter of Ukrainian birth. Together with Fyodor Rokotov and Vladimir Borovikovsky, he ranks foremost among 18th-century Russian portrait painters. He received his first lessons in painting from his father, Grigory Levitsky-Nos (1697-1769), a priest, engraver and painter. He also studied under Aleksey Antropov, who had come to Kiev to decorate St Andrew's church (1752-5). In the late 1750s Levitsky went with Antropov to St Petersburg, where he stayed until 1764; he continued with lessons from Antropov to whom, it appears, he owed the objectivity that was to characterize his work. It is probable that he also studied at the St Petersburg Academy of Arts, attending classes under Louis Lagren?e. Levitsky worked with Antropov on the decoration of triumphal arches in Moscow for Catherine II's coronation in 1762. His first known portraits are rather formal, for example that of the architect Aleksandr Kokorinov (1769; St Petersburg, Rus. Mus.), which won Levitsky the title of Academician in 1770. In such works he made successful use of a compositional structure typical of formal European portrait painting, intended to emphasize the importance of the sitter.
Jean-Baptiste Carpeaux
(May 11, 1827 - October 12, 1875) was a French sculptor and painter. Born in Valenciennes, Nord, son of a mason, his early studies were under François Rude. Carpeaux entered the Ecole des Beaux-Arts in 1844 and won the Prix de Rome in 1854, and moving to Rome to find inspiration, he there studied the works of Michelangelo, Donatello and Verrocchio. Staying in Rome from 1854 to 1861, he obtained a taste for movement and spontaneity, which he joined with the great principles of baroque art. Carpeaux sought real life subjects in the streets and broke with the classical tradition. While a student in Rome, Carpeaux submitted a plaster version of Pe - heur napolitain e la coquille, the Neapolitan Fisherboy, to the French Academy. He carved the marble version several years later, showing it in the Salon exhibition of 1863. It was purchased for Napoleon III's empress, Eugenie. The statue of the young smiling boy was very popular, and Carpeaux created a number of reproductions and variations in marble and bronze. There is a copy, for instance, in the Samuel H. Kress Collection in the National Gallery of Art in Washington D.C.. Some years later, he carved the Girl with a Shell, a very similar study. In 1861 he made a bust of Princess Mathilde, and this later brought him several commissions from Napoleon III.