b. 1590, Paris, d. 1649, Paris.French painter and draughtsman. Although at the time regarded as one of the leading French painters of the first half of the 17th century, he is now known more for his influence on French painting than for his actual oeuvre. He made his reputation in Italy, where he executed numerous portraits for aristocratic patrons and was commissioned for religious subjects. Although the early Italian works show the influence of Caravaggio, his work was subsequently modified by the Baroque style of such painters as Lanfranco and the influence of the Venetian use of light and colour.  Related Paintings of Simon Vouet :. | Saturn, Conquered by Amor, Venus and Hope | The Last Supper | The Rape of Europa | Self-portrait | The Penitent Magdalen |
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John Gould
1804 - 1881. (Born Sept. 14, 1804, Lyme Regis, Dorsetshire, England. Died Feb. 3, 1881, London) was an English ornithologist. The Gould League in Australia was named after him. His identification of the birds now nicknamed "Darwin's finches" was pivotal in the inception of Darwin's theory of evolution by natural selection, though they are barely mentioned in Charles Darwin's book, On the Origin of Species.Gould was born in Lyme Regis, Dorset, the son of a gardener, and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 became foreman in the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy and in 1824 he set himself up in business in London as a taxidermist,
David Octavius Hill
Scottish Painter and Photographer, 1802-1870 was a founding member of the Royal Scottish Academy and its secretary for 40 years. In 1843 he enlisted the help of Robert Adamson (b. 1821, Berunside, Scot. January 1848, St. Andrews), a chemist experienced in photography, in photographing the delegates to the founding convention of the Free Church of Scotland. They used the calotype process, by which an image was developed from a paper negative. In these and other portraits they demonstrated a masterly sense of form and composition and a dramatic use of light and shade. Their five-year partnership resulted in some 3,000 photographs, including many views of Edinburgh and small fishing villages.
Albert Joseph Moore Prints
English Classicist Painter, 1841-1893 Albert Joseph Moore (4 September 1841 ?C 25 September 1893) was an English painter, known for his depictions of langorous female figures set against the luxury and decadence of the classical world. SilverHe was born in York in 1841, the youngest of the fourteen children of the artist William Moore of York who in the first half of the 19th century enjoyed a considerable reputation in the North of England as a painter of portraits and landscape. In his childhood Albert Moore showed an extraordinary love of art, and as he was encouraged in his tastes by his father and brothers, two of whom afterwards became famous as artists ?? John Collingham Moore and Henry Moore, and he was able to begin the active exercise of his profession at an unusually early age. His first exhibited works were two drawings which he sent to the Royal Academy in 1857. A year later he became a student in the Royal Academy schools; but after working in them for a few months only he decided that he would be more profitably occupied in independent practice. During the period that extended from 1858 to 1870, though he produced and exhibited many pictures and drawings, he gave up much of his time to decorative work of various kinds, and painted, in 1863, a series of wall decorations at Coombe Abbey, the seat of the Earl of Craven; in 1865 and 1866 some elaborate compositions: The Last Supper and The Feeding of the Five Thousand on the chancel walls of the church of St. Alban's, Rochdale; and in 1868 A Greek Play, an important panel in tempera for the proscenium of the Queen's Theatre in Long Acre. His first large canvas, Elijah's Sacrifice, was completed during a stay of some five months in Rome at the beginning of 1863, and appeared at the Academy in 1865. A still larger picture, The Shunamite relating the Glories of King Solomon to her Maidens, was exhibited in 1866, and with it two smaller works, Apricots and Pomegranates. In these Albert Moore asserted plainly the particular technical conviction that for the rest of his life governed the whole of his practice, and with them he first took his place definitely among the most original of British painters.