Born 1606, Died 1669.One of the great Dutch painters and printmakers of the 17th century, Rembrandt van Rijn is best known for his expressive use of light and shadow (also called chiaroscuro) in his many portraits. Raised in Leiden, he studied with Pieter Lastman (1583-1633) in Amsterdam, then returned to Leiden around 1625 and set up shop as a teacher and portrait artist. Sometime between 1630 and 1632 Rembrandt relocated to Amsterdam, where he spent the rest of his career. Though he had his detractors (some of whom considered him coarse and "low born"), Rembrandt was successful and famous during his lifetime, though he fell on financial hard times in his later years. He was a master printer and produced hundreds of group portraits and historical paintings, including The Anatomy Lesson of Dr. Tulp (1632), The Military Company of Captain Frans Banning Cocq (1642) and Aristotle with a Bust of Homer (1653). His portraits -- including a lifelong trail of intriguing and rather frank self-portraits -- reveal his interest in psychological study and continue to be admired as landmarks in Western art. The Military Company of Captain Frans Banning Cocq is also known as "The Night Watch" because it was thought the painting depicted a nighttime scene. When the painting was cleaned in the 1940s it became obvious that it depicted a daytime scene... He married Saskia van Ulenburgh (also Uylenburgh) in 1634.   Related Paintings of REMBRANDT Harmenszoon van Rijn :. | The Baptism of the Eunuch. | Artemisia | The Descent from the Cross (mk33) | The Anatomy Lesson of Dr.Joan Deyman | Hendrickje Bathing in a River |
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Hercules Seghers
1590-1638 Dutch Hercules Seghers Gallery Hercules Pieterszoon Seghers or Segers (c. 1589 ?C c. 1638) was a Dutch painter and printmaker of the Dutch Golden Age. Segers is in fact the more common form in contemporary documents, and was used by the painter himself (modern use is about equally divided between the two). He was "the most inspired, experimental and original landscapist" of his period and an even more innovative printmaker. He was probably best known to his contemporaries for his paintings of landscapes and still-life subjects; his paintings are also rare, with perhaps only fifteen surviving (one was destroyed in a fire in October 2007 ). The Stadholder, Frederick Henry, Prince of Orange bought landscapes in 1632. Many of his painted landscapes are fantastic mountainous compositions, whereas in his prints it is often the technical approach rather than the subject which is extreme. His painted landscapes tend to show a wide horizontal view, with emphasis on earth rather than sky; two in the Gemäldegalerie, Berlin had strips of sky added at the top later in the century to meet a changed taste. Apart from Coninxloo, Seghers drew from the Flemish landscape tradition, perhaps especially Joos de Momper and Roelandt Savery, but also the "fantastic and visionary aspects of Mannerist" landscape painting. A 1680 inventory of Jan van der Capelle, who owned five paintings by Seghers, describes one as view of Brussels, which if correct would presumably mean Seghers travelled there, probably when young, when his style shows most Flemish influence (in so far as the chronology of his work is clear).
Kracker, Johann Lucas
Austrian painter b. 1719, Wien, d. 1779, Eger
Pater, Jean-Baptiste
French Rococo Era Painter, 1695-1736 French painter and draughtsman. He was taught in Valenciennes by Jean-Baptiste Guid? (master 1697; d 1711) and also by his father, Antoine Pater (1670-1747), a sculptor whose portrait was painted by Antoine Watteau (Valenciennes, Mus. B.-A.), who was also a native of Valenciennes. He probably followed Watteau to Paris after the short stay that the latter made in Valenciennes around 1710. Pater thus became a pupil of Watteau. Watteau's difficult character led to Pater's dismissal. He then spent a few hard years on his own in Paris, before returning to Valenciennes around 1715 or 1716. He tried to work independently of the local corporation of St Luc, of which he was not a member; a number of comical legal difficulties ensued, and Pater returned to Paris in 1718. There he must have been in contact with Watteau, since he worked for some of the latter's clients, such as the dealers Pierre Sirois and Edm?-Fran?ois Gersaint, and the collector Jean de Jullienne. In the spring of 1721 the dying Watteau called Pater to him at Nogent, near Paris, apparently full of remorse for his previous attitude and wishing to instruct him in the basic tenets of his painting,