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

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Hans Eworth
Mary I of England

ID: 81102

Hans Eworth Mary I of England
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Hans Eworth Mary I of England


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Hans Eworth

Flemish Northern Renaissance Painter, active 1540-1573 Flemish painter, active in England. Jan Euworts was listed in 1540 as a freeman of the Guild of St Luke in Antwerp, but by 1545 he had moved to England, where until 1571 his name, spelt in a wide variety of ways (e.g. Eeworts, Eottes, Euertz, Evance, Eworts, Ewotes, Ewout, Ewoutsz., Eywooddes, Hawarde, Heward, Huett etc), appeared in numerous naturalization, tax and parish documents. About 35 paintings are generally attributed to him, consisting primarily of dated portraits of the English gentry and nobility. The majority are signed with the monogram HE, which led to their being attributed to the Flemish painter Lucas de Heere during the 18th and 19th centuries. Cust reattributed the paintings to Eworth on the basis of an inventory (1590) of the collection of John, 1st Baron Lumley, in which three monogrammed portraits were listed as being by Haunce Eworth  Related Paintings of Hans Eworth :. | Portrait of an unknown lady | Mary Neville Lady Dacre | Portrait of an Unknown Lady, signed | Lady Dacre | Queen Mary |
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TORRENTIUS, Johannes
Dutch painter (b. 1589, Amsterdam, d. 1644, Amsterdam). Dutch painter. He was active in Amsterdam, Leiden and Haarlem. In Haarlem in 1627 he was condemned, after severe torture, to 20 years of imprisonment for impiety, blasphemy and his membership of the outlawed Society of Rosicrucians. After having been notified by Sir Dudley Carleton, the British ambassador in The Hague, Charles I of England intervened and brought about Torrentius's release in 1629. Torrentius was subsequently active from 1629 to 1632 in London, which he nevertheless had to leave, again on account of his purportedly immoral mode of life; he returned to Amsterdam. There he was again involved in a trial and died after suffering torture in 1644. His erotic pictures, some of which depicted masterful nudes in mythological settings and are now known only through literary sources, were publicly burnt. A few still-lifes (e.g. Emblematic Still-life, 1614; Amsterdam, Rijksmus.) have survived. These carefully composed works, mostly set before a dark background, recall the work of Jan van de Velde II and the circle of Willem Claesz. Heda.
William Hoare
William Hoare of Bath RA (c. 1707 - 12 December 1792) was an English painter and printmaker, co-founder of the Royal Academy noted for his pastels. Born near Eye, Suffolk, Hoare received a gentlemanes education in Faringdon. He showed a marked aptitude for drawing and was sent to London to study under Giuseppe Grisoni, who had left Florence for London in 1715. When Grisoni returned to Italy in 1728, Hoare went with him, travelling to Rome and continuing his studies under the direction of Francesco Imperiali. He remained in Rome for nine years, returning to London in 1737/8. Failing to establish himself in London, Hoare settled in Bath, an expanding spa town popular with the wealthier classes. He obtained numerous commissions, the most important being for official portraits of social leaders of the day (including George Frideric Handel) and political men. There are several versions of most of these, suggesting that he had a studio, and they were further publicised by the production of mezzotints by leading engravers of the day. Hoare himself was a delicate etcher and published a number of private plates, mostly of family and friends, including Miss Hoare (probably Mary), Christopher Anstey and the 3rd Duke of Beaufort. His pastels were influenced by Rosalba Carriera.
George Stubbs
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.






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