Flemish Baroque Era Painter, 1577-1640 Peter Paul Rubens (June 28, 1577 ?C May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp which produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England. Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems. His fondness of painting full-figured women gave rise to the terms 'Rubensian' or 'Rubenesque' for plus-sized women. The term 'Rubensiaans' is also commonly used in Dutch to denote such women.  Related Paintings of Peter Paul Rubens :. | Portret van Alfons, koning van Aragon en Napels | Diana and Callisto (mk01) | Bacchus | The Triumphal Car of Kallo | Samson and Delilah |
Related Artists:
John Neagle
1796-1860 John Neagle Gallery Neagle's training in art began with instruction from the drawing-master Pietro Ancora and an apprenticeship to Thomas Wilson, a well-connected painter of signs and coaches in Philadelphia. Wilson introduced him to the painters Bass Otis and Thomas Sully, and Neagle became a protege of the latter. In 1818 Neagle decided to concentrate exclusively on portraits, setting up shop as an independent master. Aside from brief sojourns in Lexington, Kentucky, and New Orleans, Louisiana, he spent his career in Philadelphia. In May 1826 he married Sully's stepdaughter Mary, and for a time the son-in-law and father-in-law dominated the field of portraiture in the city. Neagle served as Director of the Pennsylvania Academy of Fine Arts, and was also a founder and president (1835-43) of the Artist's Fund Society of Philadelphia.
Pieter Janssens
Dutch Baroque Era Painter, 1623-ca.1682
MIERIS, Frans van, the Elder
Dutch painter (b. 1635, Leiden, d. 1681, Leiden). was a Dutch genre and portrait painter. The leading member of a Leiden family of painters, his sons Jan (1660-1690) and Willem (1662?C1747) and his grandson Frans van Mieris the Younger (1689?C1763) were also accomplished genre painters. Frans was the son of Jan Bastiaans van Mieris, a goldsmith, carver of rubies and diamond setter at Leiden. His father wished to train him to his own business, but Frans preferred drawing, and took service with Abraham Toorenvliet, a glazier who kept a school of design. In his father's shop he became familiar with the ways and dress of people of distinction. His eye was fascinated in turn by the sheen of jewelry and stained glass; and, though he soon gave up the teaching of Toorenvliet for that of Gerard Dou and Abraham van den Tempel, he acquired a manner which had more of the finish of the exquisites of the Dutch school than of the breadth of the disciples of Rembrandt. It should be borne in mind that he seldom chose panels of which the size exceeded 12 to 15 inches, and whenever his name is attached to a picture above that size we may surely assign it to his son Willem or to some other imitator. Unlike Dou when he first left Rembrandt, or Jan Steen when he started on an independent career, Mieris never ventured to design figures as large as life. Characteristic of his art in its minute proportions is a shiny brightness and metallic polish. The subjects which he treated best are those in which he illustrated the habits or actions of the wealthier classes; but he sometimes succeeded in homely incidents and in portrait, and not unfrequently he ventured on allegory. He repeatedly painted the satin skirt which Ter Borch brought into fashion, and he often rivalled Ter Borch in the faithful rendering of rich and highly-coloured woven tissues. But he remained below Ter Borch and Metsu, because he had not their delicate perception of harmony or their charming mellowness of touch and tint, and he fell behind Gerard Dou, because he was hard and had not his feeling for effect by concentrated light and shade. In the form of his composition, which sometimes represents the framework of a window enlivened with greenery, and adorned with bas-reliefs within which figures are seen to the waist, his model is certainly Dou. It is a question whether Houbraken has truly recorded this master's birthday. One of his best-known pieces, a party of ladies and gentlemen at an oyster luncheon, in the Hermitage at St Petersburg, bears the date of 1650. Celebrated alike for composition and finish, it would prove that Mieris had reached his prime at the age of fifteen. Another beautiful example, the "Doctor Feeling a Lady's Pulse" in the gallery of Vienna, is dated 1656; and Waagen, in one of his critical essays, justly observes that it is a remarkable production for a youth of twenty-one. In 1657 Mieris was married at Leiden in the presence of Jan Potheuck, a painter, and this is the earliest written record of his existence on which we can implicitly rely. Of the numerous panels by Mieris, twenty-nine at least are dated--the latest being an allegory, long in the Ruhl collection at Cologne, illustrating what he considered the kindred vices of drinking, smoking and dicing, in the year 1680. Mieris had numerous and distinguished patrons. He received valuable commissions from Archduke Leopold, the elector-palatine, and Cosimo III de' Medici, grand-duke of Tuscany. His practice was large and lucrative, but never engendered in him either carelessness or neglect. If there be a difference between the painter's earlier and later work, it is that the former was clearer and more delicate in flesh, whilst the latter was often darker and more livid in the shadows. When he died his clients naturally went over to his son Willem, who in turn bequeathed his painting-room to his son Frans. But neither Willem nor Frans the younger equalled Frans the elder.