English Rococo Era Miniaturist, 1742-1821,Painter, draughtsman, dealer and collector. Probably the son of a schoolmaster, he showed a precocious talent for drawing and studied at Shipley's Drawing School in the Strand, where he won several prizes. He attended the Richmond House academy, set up by Charles Lennox, 3rd Duke of Richmond, where he met Giovanni Battista Cipriani. He first exhibited at the Society of Artists in 1760, showing there again between 1767 and 1779. He also showed at the Free Society of Artists between 1761 and 1766. In 1769 he entered the Royal Academy Schools, becoming an ARA in 1770, when he began to exhibit at the Academy, and RA the following year. In 1781 Cosway married the Anglo-Florentine artist Maria Cosway, n?e Hadfield, and they moved in 1784 to Schomberg House, Pall Mall, which became a centre for fashionable London society. In 1786 he made a brief visit to Paris and in 1791 he moved to a larger house in Stratford Place, London.   Related Paintings of Richard Cosway :. | Miss Franks | Portrait of the Marchioness of Queenston | A Lady c | A Gentleman | Portrait of Victoria |
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Jean-Baptiste Perronneau
(Paris, c. 1715 - Amsterdam, 19 November 1783) was a French painter who specialized in portraits executed in pastels. Perronneau began his career as an engraver, apparently studying with Laurent Cars, whose portrait he drew, and working for the entrepreneurial printseller Gabriel Huquier, rue Saint-Jacques, Paris, making his first portraits in oils, and especially in pastels, in the 1740s. His career was much in the shadow of the master of the French pastel portrait, Maurice Quentin de La Tour. In the Salon of 1750, Perronneau exhibited his pastel portrait of Maurice-Quentin de la Tour, but found to his dismay that La Tour was exhibiting his own self portrait, perhaps a malicious confrontation to demonstrate his superiority in the technique. He made his Salon debut with a pastel portrait in 1746 and received full membership in the Academie Royale de Peinture et de Sculpture in 1753, with portraits of fellow artist Jean-Baptiste Oudry and the sculptor Lambert-Sigisbert Adam, both now at the Louvre Museum. After 1779 he no longer exhibited in the Paris Salons, but the clientele in his portraits reveal how widely he travelled in the provinces of France, with a group of sitters connected with Orleans, but also in Toulouse, Bordeaux, Lyon. Farther afield he may have been in Turin and Rome, and in Spain, Hamburg, Poland, Russia and England. He died in Amsterdam virtually unknown, according to his biographers.
Gottlieb Schick
romanticism artist. German, 1776-1812 German painter. He trained at the H?he Karlsschule in Stuttgart (1795-7) under the classically-orientated painter Philipp Friedrich von Hetsch (1758-1839), a pupil of David. Schick also took private lessons (1797-8) with the sculptor Johann Heinrich von Dannecker. From 1799 to 1802 Schick studied in Paris under David, and he soon became one of David's favourite students. He made two unsuccessful attempts to win the Prix de Rome with compositions that derived from the style of David. However, greater independence is seen in his life-size painting Eve (1800; Cologne, Wallraf-Richartz-Mus.), a magnificent allegory of Beauty synthesizing a classically-orientated reinterpretation of ancient art and a proto-Romantic interpretation of biblical subject-matter, inspired by Milton's Paradise Lost. As Schick himself stated (letter to Dannecker, 10 July 1800), he had tried to emulate both the Medici Venus and the female figures of Raphael. In 1802, on a pension from Frederick II, Duke of Werttemburg, Schick moved to Rome and for almost a decade played a leading role in Roman artistic life. His friendship with Joseph Anton Koch led to mutual influence in the work of the two artists. Koch was indebted to Schick for invaluable hints on oil painting and for choice of subjects. For a fortnight in July 1805, Schick exhibited in the Pantheon his large oil painting The Sacrifice of Noah (2.50*3.27 m, 1804; Stuttgart, Staatsgal.). The work was inspired by Raphael's Old Testament frescoes in the Vatican Loggie; and it brought Schick enormous success. Despite financial hardship, Schick continued to work indefatigably, and without waiting for commissions, on a wide variety of projects. These included biblical and mythological subjects as well as portraits. Between 1806 and 1808 he completed his Apollo among the Shepherds (Stuttgart, Staatsgal.), a subject he had attempted while still in Paris and then again in Rome in 1805. The second Rome version had clearly gained through Schick's concentrated thought over a period of several years, and the result represented an avowal of faith both in the artist's own gifts and in German Classicism.
David Martin
painted Portrait of Elizabeth Rennie, Viscountess Melville in 1750-1847