Italian, approx. 1587-1629 Italian painter and engraver. From 1600 until at least 1613 he was in Naples, where the naturalism of landscape painters from northern Europe, particularly Paul Bril, Goffredo Wals ( fl 1615-31) and Adam Elsheimer, influenced his early development. After 1614 he was in Rome and became acquainted with the landscapes and seascapes of Agostino Tassi. In 1617 Cosimo II de' Medici summoned him to Florence, where he worked closely with Jacques Callot. Filippo sketched in the Tuscan countryside, and pen-and-wash drawings such as the Landscape with a Rustic House (Florence, Uffizi) capture effects of bright sunlight. He developed a new kind of realistic landscape, showing small scenes that suggest the charm of country life; examples are the Country Dance (1618; Florence, Uffizi), the Mill (Florence, Pitti) and the Fair at Impruneta (Florence, Pitti). In 1620-21 he produced a series of etchings of Skeletons of Animals, dedicated to the scientist Johann Faber, and in 1622 twelve etchings of Caprices and Military Uniforms (signed Teodor Filippo de Liagno).   Related Paintings of Napoletano, Filippo :. | Kubler, pleased with fruits | Landscape with Ruins and Figures (mk05) | Cooler | The Temptation of St.Anthony | Two Shells |
Related Artists:
Sir David Wilkie
1785-1841 British Sir David Wilkie Galleries Wilkie may have inherited his rectitude and tenacity, even his nervous inhibitions, from his father, the minister of his native parish. Though little responsive to schooling, he showed an early inclination towards mimicry that expressed itself in drawings, chiefly of human activity. In these he was influenced by a copy of Allan Ramsay pastoral comedy in verse, the Gentle Shepherd (1725), illustrated by David Allan in 1788. One of the few surviving examples of his early drawings represents a scene from it (c. 1797; Kirkcaldy, Fife, Mus. A.G.). Wilkie cherished the demotic spirit of this book and its illustrations throughout his life.
john scarlett davis
John Scarlett Davis (1 September 1804 - 29 September 1845), or Davies, was an English painter of the first half of the nineteenth century. Davis was born in Leominster, the son of James Davis, a watchmaker; Scarlett was his mother's maiden name. At the age of eleven, Davis won an award from the local society for the encouragement of the arts. He was educated at the Royal Academy of Art School in London, and began exhibiting his works at the annual Royal Academy shows in 1825. He was influenced by the work of his contemporary, Richard Parkes Bonington. Davis painted portraits, landscapes, and church interiors, and developed a distinctive specialty in painting the interiors of art galleries. His picture The Interior of the British Institution Gallery (1829) records a collection of Old Masters. His watercolor of the collection of Benjamin Godfrey Windus (1835) shows the Turner pictures on the walls. (John Ruskin studied those Turners while writing his Modern Painters.) Davis painted the interiors of the Louvre as well. Between 1842 and 1845 he was commissioned to draw copies of the paintings in the collections of the British royal palaces. Davis painted scenes on the Continent during his travels there. He was in Florence in 1834, and Amsterdam in 1841. He painted the interior of the Uffizi Gallery. Davis's later years were marred by alcoholism and spells of imprisonment. His posthumous reputation suffered as a result. Davis's name is almost identical to that of John Scarlett-Davies, a modern video artist and director.
EERTVELT, Andries van
Flemish painter (b. 1590, Antwerpen, d. 1652, ?) Flemish painter. He enrolled as a member of Antwerp's Guild of St Luke in 1609. In 1615 he married Catherine Vlieger (d 1627), after whose death he went to Genoa, where he worked for Cornelis de Wael. By c. 1630 he was back in Antwerp, where he had his portrait painted by Anthony van Dyck (1632; Augsburg, Schaezlerpal.). In 1633 Eertvelt married Elisabeth Boots, probably a daughter of the Antwerp painter Jan Boots (b before 1620). Eertvelt is regarded as the first Flemish marine painter. Over the years his palette and style changed. His first paintings, mostly of ships in storms (e.g. Sea Battle in a Storm; Schwerin, Staatl. Mus.), were painted in greenish-black and brown tones, often using white to highlight the rigging against the dark sea. After his tour of Italy he favoured views of southern harbours, with calm seas painted in soft tones (e.g. Spanish Ships Leaving a Port; Vienna, Ksthist. Mus.). In his day Eertvelt was a man of distinction whose artistic qualities were praised by the poet Cornelis de Bie and whose marine paintings were appreciated abroad, some being exported as far as Seville and Lisbon.