Largilliere's father, a merchant, took him to Antwerp at the age of three. As a boy, he spent nearly two years in London. Sometime after his return to Antwerp, a failed attempt at business led him to the studio of Goubeau. However, Largilliere left at the age of eighteen and went to England, where he was befriended and employed by Peter Lely for four years at Windsor, Berkshire. Painting careerEarly careerHis painting caught the attention of Charles II, who wished to retain Largilliere in his service, but the controversy aroused by the Rye House Plot against Roman Catholics alarmed Largilliere. Largilliere left for Paris, where he was well-received by the public as a painter. Upon ascending to the throne in 1685, James II requested Largilliere to return to England. James II offered Largilliere the office of keeper of the royal collections, but he declined due to being uneasy about Rye House Plot. However, during a short stay in London, he painted portraits of the king, the queen Mary of Modena, and the prince of Wales James Francis Edward Stuart. The portrait of the Prince of Wales could not have been painted during Largilliere's stay in London because the prince was not born until 1688. The three portraits painted by Largilliere of the prince in his youth must have been executed in Paris, where he returned sometime before March 1686. The portrait of King James II was painted in 1686. King James is portrayed in golden armor with a white cravat and is positioned in front of a watercolour-like background set in a round frame.  Related Paintings of Nicolas de Largilliee :. | Tahiti,bearing South East | Sawing Timber | ejderlock | The Villa Medici in Rome | Mrs Henry Baring and her Children |
Related Artists:
WIERINGEN, Cornelis Claesz van
Dutch painter (b. ca. 1580, Haarlem, d. 1633, Haarlem) Dutch draughtsman, painter, etcher and navigator. His name first appears in the Haarlem records in 1597. It is generally assumed that he was a pupil of Hendrick Vroom, whose work strongly influenced his own. Documentary sources confirm that he maintained close friendships with both Hendrick Goltzius, who made woodcuts after his drawings (see fig.), and Cornelis Cornelisz. van Haarlem. Van Wieringen was more than once governor of the Haarlem Guild of St Luke, a position in which he was responsible for updating the guild's outmoded organization. He specialized in seascapes and received commissions from the city of Haarlem, the Dutch Admiralty in Amsterdam and others. His interest lies primarily in his influence on Dutch marine painters of the 17th century.
BOL, Hans
Flemish Northern Renaissance Painter, 1534-1593 Hans Bol (1534?C1593), Flemish artist, received his early training from his two uncles who were also painters. He then was the apprentice to a Mechelen watercolorist and tempera painter at the age of fourteen. Because Bol??s watercolors became so widely reproduced, he began creating miniatures on parchment. The technique earned him many international clients and a good income. In addition, Bol also produced several oil paintings, illuminated manuscripts, drawings, and engravings. He preferred to create landscapes, mythological, allegorical and biblical scenes, and genre paintings.
Eugene Boudin
1824-1898 French landscape painter. Encouraged at an early age by Jean-Francois Millet, Boudin became a strong advocate of painting directly from nature. In 1874 he exhibited with the Impressionists, but, unlike those painters, he was not an innovator, and from 1863 to 1897 he exhibited regularly in the official Salon. His favourite subjects were beach scenes and seascapes, which show remarkable sensitivity to effects of atmosphere; on the backs of his paintings he recorded the weather, light, and time of day. His works link the careful naturalism of the mid 19th century and the brilliant colours and fluid brushwork of Impressionism.