Swedish Baroque Era Painter, 1659-1743,Swedish painter, active in England. He studied under Martin Hannibal (d 1741) and later with David Kl?cker Ehrenstrahl. In 1682 he travelled to London, where he became acquainted with Godfrey Kneller and Henry Tilson, and in 1685 he left for Europe with the latter, working briefly in Paris before proceeding to Venice and Rome, where they stayed for about two years. In Rome Dahl converted to Roman Catholicism and gravitated towards the circle of Christina, former Queen of Sweden, who sat for him (Grimsthorpe Castle, Lincs). He returned to England with Tilson via Frankfurt and arrived in London in 1689; he stayed in England for the remainder of his career.   Related Paintings of Michael Dahl :. | Portrait of James Brydges, 1st Duke of Chandos | probably painted in | Michael Dahl | Portrait of His Grace James Duke of Chandos | sjalttvportra |
Related Artists:
Reuben Moulthrop
American portrait, miniature, wax sculptor b.1763-d.1814 American painter. As proprietor of a waxworks museum and travelling waxworks exhibition, he was interested in modelling in wax in his early years. While moving around his native state, he was exposed to several artistic influences, beginning with Winthrop Chandler. His earliest portraits seem to date from about 1788, when he completed Mr and Mrs Samuel Hathaway (1788; New Haven, CT, Colony Hist. Soc. Mus.). Its dark, heavy outlines, its flatness and almost geometric forms derive from Chandler. The quality of Moulthrop's paintings was extremely uneven; many of the best of the surviving body of about 50 works date from around 1800. The Rev. Thomas Robbins which depicts the sitter's direct gaze and contains more detail than the earlier portraits, shows the artist at his most accomplished. In the last years of his brief career he appears to have been influenced by William Jennys and John Durand,
Prentice, Levi Wells
American, 1850-1935
JANSSENS, Abraham
Flemish painter (b. 1575, Antwerpen, d. 1632, Antwerpen). Flemish painter. He painted historical, religious and mythological subjects, often on a large scale, derived principally from antique sculpture and the art of Michelangelo and Raphael and, to a lesser degree, from certain contemporaries, including the Dutch late Mannerists and the Bolognese school. He was highly esteemed in Antwerp but suffered, then and subsequently, from the inevitable comparison with his contemporary and formidable rival Rubens