Dutch Baroque Era Painter, 1627-1678 Dutch portrait painter and etcher, studied with his father, Dirk van Hoogstraten (1596?C1640), and with Rembrandt. His best works, such as The Old Jew (Vienna), reflect the influence of Rembrandt. He was director of the Academy in Dordrecht and author of a treatise (1678) in which he analyzed the theory and practice of the art of Rembrandt and other artists of the period.  Related Paintings of Samuel van hoogstraten :. | Self portrait | Self-portrait with a Medallion on a gold chain (mk33) | samuel van hoogstraten | The anemic lady | A Young Man wearing a Hat decorated with Pearls and a gold Medallion in a Half-Door (mk33) |
Related Artists:
Jean Greuze
French 1725-1805 French painter and draughtsman. He was named an associate member of the Acad?mie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Sim?on Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Fran?ois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850,
Max Slevogt
German Impressionist Painter, 1868-1932 German painter, printmaker and illustrator. His father, adjutant and friend of the future Prince Regent, Luitpold (1821-1912), died when Slevogt was just two years old. His mother moved to Werzburg, where he spent his schooldays. Even in his childhood and adolescence, family connections brought Slevogt to Pfalz, to an aunt in Landau and to the Finkler family in Neukastel. Initially he had planned to become a musician, but he began to study painting at the Akademie der Bildenden Kenste in Munich in 1885. His fellow students included Gabriel von Hackl (1843-1926), Karl Raupp (1837-1918), Ludwig Herterich (1856-1932) and Wilhelm von Diez (1839-1907). In 1889 he spent a term at the Academie Julian in Paris. At that time Impressionism had very little effect on him. Following a trip to Italy in 1890 with the painter Robert Breyer (1866-1941) who had befriended him at the Akademie, he began to work independently as a painter in Munich. In 1893 he participated in the first exhibition of the newly founded Munich Secession, exhibiting Wrestling School (1893; Edenkoben, Schloss Villa Ludwigshehe); the judges wanted to refuse this painting as immoral since its entwined and naked men caused offence. In the following years his paintings often appeared harsh and non-academic to conservative Munich circles. At this time Slevogt also made contributions to the journals Jugend and Simplizissimus, which were significant in the development of his graphic work.
Caspar Wolf
Caspar Wolf (Muri, Aargau, 3 May 1735 - Heidelberg, 6 October 1783) was a Swiss painter, known mostly for his dramatic paintings of Alps. He was strongly influenced by Albrecht von Hallers poem on the Alps, and the Sturm und Drang movement. After 1773 Wolf mostly painted glaciers, caves, waterfalls and gorges. Wolf was the son of a furniture maker, who was banned from his city. Wolf was trained in Konstanz, between 1753 and 1759 he worked in Augsburg, Munich, Passau as a decoration painter. Not being able to sell his work he went disappointed back to his home town. For Horben Castle he painted by hand the wallpaper on the first floor. In 1768 Wolf lived in Basel. From 1769 till 1771 he stayed in Paris and worked with Philip James de Loutherbourg. In 1774 he moved to Bern. Wolf made a deal with the local publisher Abraham Wagner who had a geological interest, to deliver 200 paintings. He travelled with Wagner or a minister Jakob Samuel Wyttenbach in Berner Oberland and Wallis. From 1780-1781 he was working in Spa, Cologne, Aix-la-Chapelle and Desseldorf. He died in poor circumstances in a hospital. In 1779 his prints were exposed were Bern but the selling of the book became a failure. Wagner became help from a Swiss army officer in Dutch service and in 1785 30 aquatints were published in Amsterdam. Till 1948 90 of these aquatints were exposed in Keukenhof Castle, but sold. Today these works can be seen in the Kunsthaus in Aarau. His son Theodor Wolf (1770 - 1818) was a still life painter.