1740-93 Scottish painter, active in Italy. The son of an Edinburgh merchant, he was first apprenticed to a goldsmith and then, from 1766, to the Norie family of house-painters. In the 1760s he produced numerous sketches of the Scottish Lowlands (examples Edinburgh, N.G.), and in 1769 he designed and executed stage sets at the Theatre Royal, Edinburgh, for the first productions after the legalizing of the theatre in Scotland. More's Edinburgh period culminated in a series of oil paintings of the Falls of the River Clyde, three of which are in public collections: Corra Linn (Edinburgh, N.G.), Stonebyres Linn (London, Tate) and Bonnington Linn (Cambridge, Fitzwilliam). These paintings are regarded as the first serious artistic interpretations of the Scottish landscape, depictions by previous artists having been essentially topographical in character. More took a set of three of them to the Society of Artists Exhibition in London in 1771, at which he gained widespread recognition and the personal encouragement of Sir Joshua Reynolds.  Related Paintings of Jacob More :. | Self-Portrait as Abbot of the Accademiglia | woman in blue | European city landscape, street landsacpe, construction, frontstore, building and architecture.070 | River Forth | Rubens Painting an Allegory of Peace |
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Juriaen van Streeck
(1632 - 1687) was a Dutch Golden Age painter of still lifes. According to Houbraken, he was good at all sorts of still life subjects, including helmets, books, letters, musical instruments, and skulls or dead animals to indicate the transcience of life. He was a follower of Willem Kalf and influenced Barend van der Meer.Houbraken also wrote an entry for his son Hendrick van Streeck, who became a student of Emanuel de Witte and painted church interiors.
Vincenzo Irolli
Italian,1860-1942
LIPPI, Filippino
Italian Early Renaissance Painter, ca.1457-1504 Son of Filippo Lippi. He was a painter of altarpieces, cassone panels and frescoes and also an exceptional draughtsman. His success lay in his ability to absorb, without slavishly following, the most popular trends in contemporary painting. He worked in Florence and Rome at a time when patrons were beginning to intermingle personal, religious, social and political ideals in their ambitions for palaces and chapels: with the support of wealthy and erudite patrons, such as Lorenzo de' Medici and Filippo Strozzi, he won important civic and private commissions.