Dutch Baroque Era Painter, 1625-1654 Son of Pieter Potter. He was related through his mother, Aechtie Pouwels (d 1636), to the wealthy and powerful von Egmont and Semeyns families, who held important offices in Enkhuizen and at the court in The Hague. He worked in his father's studio in Amsterdam during the 1630s and, like him, painted history subjects that show the strong influence of Claes Moeyaert, with whom Paulus may also have studied. In the painting Abraham Returning from Canaan he adapted the landscape setting from an etching by Moses van Uyttenbroeck and the figures from works by Moeyaert from over ten years earlier. Significantly, however, he redistributed the numerous animals and figures that Moeyaert had aligned evenly across the frontal plane; Potter placed them to one side, permitting a view into the deep distance where other animals can be seen. Potter followed his father more than Moeyaert in searching for ways to integrate his figures with the landscape,  Related Paintings of POTTER, Paulus :. | A Landscape with Cows,sheep and horses by a Barn | Four Bulls qgq | Landscape with Shepherdess and Shepherd Playing Flute af | Cows in a Meadow af | Watchdog |
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Lodovico Carracci
(21 April 1555 - 13 November 1619) was an Italian, early-Baroque painter, etcher, and printmaker born in Bologna. Ludovico himself apprenticed under Prospero Fontana in Bologna and traveled to Florence, Parma, and Venice, before returning to his hometown. Along with his cousins Annibale and Agostino Carracci, Ludovico in 1585 was a founder and director (caposindaco) of the so-called Eclectic Academy of painting (also called the Accademia degli Incamminati), which in reality was a studio with apprenticed assistants. This studio however propelled a number of Emilian artists to pre-eminence in Rome and elsewhere, and singularly helped encourage the so-called Bolognese School) of the late 16th century, which included Albani, Guercino, Sacchi, Reni, Lanfranco and Domenichino. The Carracci had their apprentice draw studies focused on observation of nature and natural poses, and use a bold scale in drawing figures. Ludovico specifically helped train Giacomo Cavedone. The Carracci are credited with reinvigorating Italian art, especially fresco art, which was subsumed with formalistic Mannerism. Carracci's own works are characterized by a strong mood invoked by broad gestures and flickering light that create spiritual emotion. Ludovico Carracci died in Bologna in 1619.
PROCACCINI, Giulio Cesare
Italian Baroque Era Painter and Sculptor, 1574-1625 ..Painter and sculptor, son of Ercole Procaccini. Having moved to Milan with the rest of the family in the mid-1580s, he trained as a sculptor, perhaps in the workshop of Francesco Brambilla, and then worked (1591-9) for the workshop of Milan Cathedral. The results of this work are difficult to identify, and the most secure attribution is the left term on the altar of St Joseph. There followed a period (1597-1602) of intense sculptural activity for the church of S Maria presso S Celso, for the fa?ade of which he executed two high reliefs in marble, the Visitation and Birth of the Virgin. In 1597 he may have accompanied his brother Camillo to Reggio Emilia, where Camillo added to his earlier fresco decorations for S Prospero. Between 1597 and 1600 Giulio Cesare is documented as working as a sculptor for Cremona Cathedral, to which two sculptures, St Matthew and St John, were delivered, after many delays, in 1625. He also produced the gilded wood Guardian Angel (1597; Cremona, Mus. Civ. Ala Ponzone) for S Monica, Cremona. From Cremona he travelled to Parma,
Andrea del Sarto
b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.