1724-1806 George Stubbs Galleries George Stubbs (born in Liverpool on August 25, 1724 ?C died in London July 10, 1806) was a British painter, best known for his paintings of horses. Stubbs was the son of a currier. Information on his life up to age thirty-five is sparse, relying almost entirely on notes made by fellow artist Ozias Humphry towards the end of Stubbs's life. Stubbs was briefly apprenticed to a Lancashire painter and engraver named Hamlet Winstanley, but soon left as he objected to the work of copying to which he was set. Thereafter as an artist he was self-taught. In the 1740s he worked as a portrait painter in the North of England and from about 1745 to 1751 he studied human anatomy at York County Hospital. He had had a passion for anatomy from his childhood, and one of his earliest surviving works is a set of illustrations for a textbook on midwifery which was published in 1751. In 1755 Stubbs visited Italy. Forty years later he told Ozias Humphry that his motive for going to Italy was, "to convince himself that nature was and is always superior to art whether Greek or Roman, and having renewed this conviction he immediately resolved upon returning home". Later in the 1754 he rented a farmhouse in the village of Horkstow,Lincolnshire, and spent 18 months dissecting horses. He moved to London in about 1759 and in 1766 published The anatomy of the Horse. The original drawings are now in the collection of the Royal Academy. Even before his book was published, Stubbs's drawings were seen by leading aristocratic patrons, who recognised that his work was more accurate than that of earlier horse painters such as James Seymour and John Wootton. In 1759 the 3rd Duke of Richmond commissioned three large pictures from him, and his career was soon secure. By 1763 he had produced works for several more dukes and other lords and was able to buy a house in Marylebone, a fashionable part of London, where he lived for the rest of his life. Whistlejacket. National Gallery, London.His most famous work is probably Whistlejacket, a painting of a prancing horse commissioned by the 2nd Marquess of Rockingham, which is now in the National Gallery in London. This and two other paintings carried out for Rockingham break with convention in having plain backgrounds. Throughout the 1760s he produced a wide range of individual and group portraits of horses, sometimes accompanied by hounds. He often painted horses with their grooms, whom he always painted as individuals. Meanwhile he also continued to accept commissions for portraits of people, including some group portraits. From 1761 to 1776 he exhibited at the Society of Artists, but in 1775 he switched his allegiance to the recently founded but already more prestigious Royal Academy. Stubbs also painted more exotic animals including lions, tigers, giraffes, monkeys, and rhinoceroses, which he was able to observe in private menageries. He became preoccupied with the theme of a wild horse threatened by a lion and produced several variations on this theme. These and other works became well known at the time through engravings of Stubbs's work, which appeared in increasing numbers in the 1770s and 1780s. Mares and Foals in a Landscape. 1763-68.Stubbs also painted historical pictures, but these are much less well regarded. From the late 1760s he produced some work on enamel. In the 1770s Josiah Wedgwood developed a new and larger type of enamel panel at Stubbs's request. Also in the 1770s he painted single portraits of dogs for the first time, while also receiving an increasing number of commissions to paint hunts with their packs of hounds. He remained active into his old age. In the 1780s he produced a pastoral series called Haymakers and Reapers, and in the early 1790s he enjoyed the patronage of the Prince of Wales, whom he painted on horseback in 1791. His last project, begun in 1795, was A comparative anatomical exposition of the structure of the human body with that of a tiger and a common fowl, engravings from which appeared between 1804 and 1806. Stubbs's son George Townly Stubbs was an engraver and printmaker.  Related Paintings of George Stubbs :. | Horse | Der Phaeton des Prince of Wales | Haymakers | Stuten und Fohlen angstigen sich vor einem heraufziehenden Unwetter | Otho,with JOhn Larkin up |
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Mednyanszky, Laszlo
Hungarian, 1852-1919 Ladislaus Josephus Balthasar Eustachius Mednyenszky was a Hungarian painter in the Impressionist tradition. Despite an aristocratic background, he spent most of his life moving around Europe working as an artist. Mednyenszky spent considerable periods in seclusion but mingled with people across society - in the aristocracy, art world, peasantry and army - many of whom became the subjects of his paintings. His most important works depict scenes of nature and poor, working people, particularly from his home region in Upper Hungary. Medny nszky was born in Beck, the Kingdom of Hungary (now Beckov in Slovakia), to Eduard Mednyenszky and Maria Anna Mednyenszky, (nee Szirmay) both from landowning families. Mednyenszky's family moved in 1861 to the chateau of his grandfather, Baltazer Szirmay, at Nagyőr (Strežky), near Szepesbela (Spišsk Bele) in north-eastern Hungary. This was to be the setting for many of his works. Medny nszky met the Austrian artist Thomas Ender in 1863 when Ender visited the chateau at Nagyőr. Ender took an interest in Mednyenszky's early efforts at drawing, lending his assistance to improve Mednyenszky's skills. Mednyenszky attended a grammar school in K??smerk (Kežmarok), near his home, then attended the Akademie der Bildenden Kenste (Academy of Fine Arts) in Munich in 1872 - 1873. Dissatisfied in Munich, he moved to Paris to attend the École des Beaux-Arts. After the death of his professor, Isidore-Alexandre Augustin Pils, in 1875, Mednyenszky left the École and began practicing independently from Montmartre. Mednyenszky returned to Nagyőr after 1877 to continue painting, and subsequently travelled widely in Europe, between his childhood homes in Upper Hungary and Budapest, Vienna, Paris and beyond. Mednyenszky visited the Szolnok artists' colony in the autumn of 1877 and Italy in 1878. His mother died in 1883, after which he lived in seclusion in Nagyőr. He returned to Nagyőr in 1887 to help deal with an outbreak of cholera but soon fell ill himself, with pneumonia. He spent much of 1889-1892 in Paris and returned regularly to Nagyőr until 1900.
BOL, Ferdinand
Dutch Baroque Era Painter, 1616-1680 Ferdinand was born in Dordrecht as the son of a surgeon, Balthasar Bol.[2] Ferdinand Bol was first an apprentice of Jacob Cuyp in his hometown and/or of Abraham Bloemaert in Utrecht. After 1630 he studied with Rembrandt, living in his house in Sint Antoniesbreestraat, then a fashionable street and area for painters, jewellers, architects, and many Flemish and Jewish immigrants.[3] In 1641 Bol started his own studio. In 1652 he became a burgher of Amsterdam, and in 1653 he married Elisabeth Dell, whose father held positions with the Admiralty of Amsterdam and the wine merchants' guild, both institutions that later gave commissions to the artist. Within a few years (1655) he became the head of the guild and received orders to deliver two chimney pieces for rooms in the new town hall designed by Jacob van Campen, and four more for the Admiralty of Amsterdam. Portrait of a Woman Dressed as a Huntress by Ferdinand Bol, courtesy Figge Art MuseumBy this time Bol was a popular and successful painter. His palette had lightened, his figures possessed greater elegance, and by the middle of the decade he was receiving more official commissions than any other artist in Amsterdam.[4] Godfrey Kneller was his pupil.[5] Bol delivered four paintings for the two mansions of the brothers Trip, originally also from Dordrecht.[6] Bol's first wife died 1660. In 1669 Bol married for the second time to Anna van Arckel, widow of the treasurer of the Admiralty, and apparently retired from painting at that point in his life.[7]In 1672 the couple moved to Keizersgracht 472, then a newly designed part of the city, and now the Museum van Loon. Bol served as a governor in a Home for Lepers. Bol died a few weeks after his wife, on Herengracht, where his son, a lawyer, lived. Probably his best known painting is a portrait of Elisabeth Bas, the wife of the naval officer Joachim Swartenhondt and an innkeeper near the Dam square. This and many other of his paintings would in the 19th century be falsely attributed to Rembrandt.
Jacob Levecq
(1634 - 1675), was a Dutch Golden Age painter trained by Rembrandt. According to Houbraken, who was his pupil during the last 9 months of his life, he had been trained by Rembrandt, but inherited a sum of money when his parents died, that he used to take care of himself, his two unmarried sisters and a blind half-brother. Houbraken could not recall much of his painting style, since he had been mostly sick while he was living in the house, and he no longer painted actively. In his younger years Levecq travelled to Paris and Sedan where he painted portraits, and on his return to Dordrecht became a portrait painter in the manner of Jan de Baen. When he died, Houbraken inherited a third of his prints, but regretted the fact that as a young boy with little experience in such matters, he only chose prints by Lucas van Leyden and Albert Durer, and had left the French prints for others, and so was very glad that he had received one anyway by Charles le Brun.