Flemish Painter, 1684-1745 was a French subject and portrait painter. He was born in Aix-en-Provence, and was instructed in art by his father Louis-Abraham van Loo, son of Jacob van Loo. Having at an early age executed several pictures for the decoration of the church and public buildings at Aix, he was employed on similar work at Toulon, which he was obliged to leave during the siege of 1707. He was patronized by the prince of Carignan, who sent him to Rome, where he studied under Benedetto Luti. Here he was much employed on church pictures, and in particular executed a greatly praised Scourging of Christ for St Maria in Monticelli. At Turin he painted Charles Emmanuel II, Duke of Savoy and several members of his court. Then, moving to Paris, where he was elected a member of the Acad??mie Royale de Peinture et de Sculpture, he executed various altar-pieces and restored the works of Francesco Primaticcio at Fontainebleau. In 1737 he went to England, where he attracted attention by his portrait of Colley Cibber and of Owen McSwiny, the theatrical manager; the latter, like many other of van Loo's works, was engraved in mezzotint by John Faber Junior. He also painted Sir Robert Walpole, whose portrait by van Loo in his robes as chancellor of the exchequer is in the National Portrait Gallery, London, and the prince and princess of Wales. He did not, however, practise long in England, for his health failing he retired to Paris in 1742, and afterwards to Aix, where he died on 19 December 1745.   Related Paintings of Jean Baptiste van Loo :. | Portrait of Pierre Carlet de Chamblain de Marivaux | Portrait of Louis XV of France | Princess Amellia of Great Britain | Portrait of King Louis XV | Portrait of Louis XV of France |
Related Artists:
Charles Green,RI
1840-1898
COCK, Paul de
Flemish painter (1724-1801).
Santo angelo
(November 29, 1806 e December 30, 1879) was a Brazilian Romantic writer and painter, as well as an architect, diplomat and professor. He is patron of the 32nd chair of the Brazilian Academy of Letters. Porto-alegre was born Manuel Jose de Araejo in Rio Pardo, to Francisco Jose de Araejo and Francisca Antônia Viana. He would change his name to Manuel de Araejo Pitangueira during the independence of Brazil, due to nativist causes. Later on, he finally changed it to its definitive form: Manuel de Araejo Porto-alegre. In 1826, he moved to Rio de Janeiro, in order to study painting with Jean-Baptiste Debret at the Escola Nacional de Belas Artes. He also studied at what is now the Academia Militar das Agulhas Negras and took a Medicine course and Philosophy. In 1831, he left Brazil along with Debret to Europe, in order to improve his painting techniques. In 1835, he went to Italy, where he met Gonçalves de Magalhães, another Brazilian poet. He and Magalhães would create in France, in the year of 1837, a short-lived magazine named Niterei, alongside Francisco de Sales Torres Homem. Also in 1837, he becomes history painting teacher at the Escola Nacional de Belas Artes, in a post that would last until 1848, when he would become a drawing teacher at the Academia Militar das Agulhas Negras, and starts doing his first caricatures. In 1838, he married Ana Paulina Delamare, having with her two children: Carlota Porto-alegre (the future wife of painter Pedro Americo) and future diplomat Paulo Porto-alegre. In 1840 he is named the official painter and decorator of Emperor Pedro II's palace. He decorated the imperial palace in Petrepolis, the wedding of Pedro II with Teresa Cristina of the Two Sicilies and the aforementioned emperor's coronation. He was decorated with the Order of Christ and the Order of the Rose. Reuniting with Gonçalves de Magalhães and Torres Homem, he founded a periodic named Minerva Brasiliense, that lasted from 1843 to 1845. He would publish in this periodic his poem Brasiliana. In 1844, alongside Torres Homem, he founded the humoristic magazine Lanterna Megica, where he published his caricatures. In 1849, Porto-alegre founded the magazine Guanabara, alongside Joaquim Manuel de Macedo and Gonçalves Dias. The magazine, considered the official journal of the Romantic movement in Brazil, lasted until 1856.