American Colonial Era Painter, 1738-1815 John Singleton Copley (1738[1] - 1815) was an American painter, born presumably in Boston, Massachusetts and a son of Richard and Mary Singleton Copley, both Irish. He is famous for his portrait paintings of important figures in colonial New England, depicting in particular middle-class subjects. His paintings were innovative in their tendency to depict artifacts relating to these individuals' lives.  Related Paintings of John Singleton Copley :. | Daughters of King George III | Portrait of Admiral Clark Gayton | This is a oil on canvas portrait of John Montresor | Portrait of Thomas Gage | Lady |
Related Artists:
Josef Feid
Austria (1806-1870 ) - Painter
John Bettes the Elder
(active c. 1531 - 1570) was a Tudor artist whose few known paintings date from between about 1543 and 1550. His most famous work is his Portrait of a Man in a Black Cap. His son John Bettes the Younger, with whom he is sometimes confused, was a pupil of Nicholas Hilliard who painted portraits during the reign of Elizabeth I and James I. Nothing is known of John Bettes's life, except that he was living in Westminster in 1556, according to a documented court case. He is first recorded as working for Henry VIII at Whitehall Palace in 1531. Queen Catherine Parr's accounts for 1546/47 record payments to Bettes for "lymning" (painting in miniature) the king's and queen's portraits, and for six other portraits. Her new year's gift of 1547 to Prince Edward was a pair of portraits of the king and herself. Bettes has been identified as the designer of the engraved title-border for William Cuningham's Cosmographical Glasse, printed by John Day in 1559. He may also be the designer of engravings for Edward Hall's Chronicle, published in 1550, and of a woodcut portrait of Franz Burchard, the Saxon ambassador to England, published in 1560. In 1576, John Foxe referred to Bettes as already dead. An earlier second edition of Foxe's Actes and Monuments printed in 1570 refers to Bettes' death.
Vladimir Borovikovsky
1757-1825,Russian painter of Ukrainian birth. Along with Fyodor Rokotov and Dmitry Levitsky, Borovikovsky is one of the three great Russian portrait painters of the second half of the 18th century. He was trained by his father and brothers, who were icon painters. His early works were also icons, such as the Mother of God (1784; Kiev, Mus. Ukrain. A.) and King David (1785; St Petersburg, Rus. Mus.); they are archaic in style and resemble portraits produced by Ukrainian folk artists. At the end of the 1780s Borovikovsky moved to St Petersburg and took up portrait painting. He was aided by advice from Levitsky and took lessons from Johann Baptist Lampi (i). He soon became established, gaining a reputation as a brilliant colourist, and he received many commissions. Throughout his career, however, he continued to paint icons from time to time. In 1795 he became a member of the St Petersburg Academy of Arts; he was also closely connected with many of the chief exponents of Russian culture in the city. The number of his surviving works is large (at least 400 portraits). He had his own workshop, and he would often rely on assistants to paint the less important parts of a portrait. His sitters included members of the imperial family, courtiers, generals, many aristocrats and figures from the Russian artistic and literary worlds. Most of his portraits are intimate in style. A particularly touching example is the portrait of Ol ga Filippova, the wife of a close friend (c. 1790; St Petersburg, Rus. Mus.), who is seen in a white peignoir with a park in the background. The portrait is painted in a flowing style; the combination of light, subdued tones, typical of Borovikovsky, gives an impression of tender femininity and quiet contemplation.