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 :. | Ezekiel Goldthwait | Mercy Otis Warren | Theodore Atkinson | Head of a Man ffff | Young lady with a Bird and dog |
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Matthieu, Georg David
German, 1737-1778 German painter and engraver. He received his training as a painter from his father, the Prussian court painter David Matthieu (1697-1755), and his stepmother and aunt, the painter Anna Rosina Lisiewska (1713/16-83). He apparently travelled outside Germany and is known to have gone to Stralsund with the painter Philipp Hackert in 1762. His portraits from this period, including one of Princess Charlotte of Mecklenburg-Strelitz, who married King George III of England,
Jozef Peszka
(1767 in Krakew - 1831 in Krakew) was a Polish painter. He studied painting in Warsaw under Franciszek Smuglewicz. From 1815 he was a professor of painting in Krakew Academy of Arts (Akademia Sztuk Pięknych w Krakowie). He painted portraits and larger paintings with historical or mythological themes.
Giovanni Migliara
Italian 1785-1837 He began his career as a scene painter with Gaspare Galiari (1761-1823) in Milan, working at the Teatro Carcano in 1804 and at La Scala from 1805 to 1809. Owing to illness, after 1810 he turned to small-scale works in watercolour or oil using various supports, including silk and ivory. At this date Milanese painting was dominated by Andrea Appiani and Luigi Sabatelli, both leading Neo-classical artists. However, Migliara remained aloof from this dominant movement and instead drew on medieval and historical subjects with Romantic undertones. His precise, jewel-like technique and choice of subject-matter found favour with aristocratic patrons in Milan. His figures are generally stilted and burdened by their costumes, though the crowd in Sacking of Minister Prina's House (1814; Milan, Gal. A. Mod.) is depicted with unusual fluency. In 1822 Migliara was appointed Professor of Perspective at the Accademia di Belle Arti, Milan, and in 1833 he was nominated painter to the court of Charles-Albert, King of Sardinia (reg 1831-49). More typical of his historical scenes is Entrance to the Castle of Plessis de la Tour (Turin, Gal. Civ. A. Mod.), which was exhibited at the Brera in 1833. He also produced many topographically precise pictures of church interiors in which he combined his training as a scene painter with his knowledge of intaglio techniques.