(c. 1555 - c. 1585) was a Flemish Mannerist painter and draughtsman active in Antwerp between about 1571 and 1585. According to the RKD he was born in Antwerp in c.1540/45 and died there c.1591-1600.De Backer was abandoned by his father as a young boy. Carel van Mander reports that the artist studied with Antonio van Palermo and Hendrik van Steenwijk I, but that Palermo worked him so hard that the young de Backer died in the arms of his master's daughter at the age of thirty. Although the artist painted in the high mannerist style of Giorgio Vasari, he never appeared to travel to Italy. A series of the "Seven Deadly Sins", however, was bought in Antwerp by Alessandro Farnese's secretary Cosimo Masi in 1594 and taken to Italy.These paintings are now in the Museo di Capodimonte in Naples. Other attributable works include a Last Judgment triptych by him or his studio for Christophe Plantin's tomb in the Antwerp Cathedral (c. 1589; illustrated right), and an Allegory of the Three Ages of Man in the Hermitage Museum, St. Petersburg. He is not to be confused with the Dutch Golden Age painter Jacob Adriaensz Backer from   Related Paintings of Jacob de Backer :. | The Dock Facing the Doge's Palace | Education of the Virgin | Besuch bei einer Dame | Frans Hellens (mk38) | Volcano |
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Charles Laval
(1862-1894) was a French painter born March 17, 1862 in Paris and who died April 27, 1894. He is associated with the Synthetic movement and Pont-Aven School, and he was a contemporary and friend of Paul Gauguin and Vincent van Gogh. Gauguin created a portrait of him in 1886 looking at one of Gauguin's Ceramic sculptures, entitled "Still Life with Profile of Laval". Paul Gauguin and Laval both came to Pension Gloanec in Pont-Aven in 1886 and became friends. In search of an exoticism that could provide the key to art, Gauguin and Laval went to Panama in 1887. To gain some subsidies, Laval performs academic portraits (all lost), using his experience received from Leon Bonnat. A series of mishaps caused Laval and Gauguin to leave the Central America for the island of Martinique.
Frederick Edwin Church
1826-1900 Frederick Edwin Church Galleries Frederic Edwin Church (May 4, 1826 ?C April 7, 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters. While committed to the natural sciences, he was "always concerned with including a spiritual dimension in his works". The family wealth came from Church's father, Joseph Church, a silversmith and watchmaker in Hartford, Connecticut.(Joseph subsequently also became an official and a director of The Aetna Life Insurance Company) Joseph, in turn, was the son of Samuel Church, who founded the first paper mill in Lee, Massachusetts in the Berkshires, and this allowed him(Frederic) to pursue his interest in art from a very early age. At eighteen years of age, Church became the pupil of Thomas Cole in Catskill, New York after Daniel Wadsworth, a family neighbor and founder of the Wadsworth Atheneum, introduced the two. In May 1848, Church was elected as the youngest Associate of the National Academy of Design and was promoted to Academician the following year. Soon after, he sold his first major work to Hartford's Wadsworth Atheneum. Church settled in New York where he taught his first pupil, William James Stillman. From the spring to autumn each year Church would travel, often by foot, sketching. He returned each winter to paint and to sell his work. Between 1853 and 1857, Church traveled in South America, financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian explorer Alexander von Humboldt's Cosmos and his exploration of the continent; Humboldt had challenged artists to portray the "physiognomy" of the Andes.
LONGHI, Alessandro
Italian painter, Venetian school (b. 1733, Venezia, d. 1813, Venezia). Painter, engraver and writer, son of (1) Pietro Longhi. He must have received his first artistic training from his father, although the only evidence of this is the similarity of their styles. He was apprenticed to Giuseppe Nogari, one of the better Venetian portrait painters of the first half of the eighteenth century, and his earliest works are bust-length, mostly life-size portraits in Nogari's style. He first exhibited in 1757 and by 1758 must have been considered a reasonably established artist,