British-born Australian Painter, 1856-1931 Australian painter of English birth. A leader of the HEIDELBERG SCHOOL and pioneer of plein-air Impressionism in Australia, he has been described as 'the father of Australian landscape painting'. Having moved to Melbourne in 1869, he studied at the East Collingwood and Carlton Schools of Design and the National Gallery of Victoria's School of Art (1874-81) while working as a photographic assistant. He led sketching expeditions with Frederick McCubbin and initiated student requests for reforms at the school. Returning to England, he enrolled in the Royal Academy Schools, London, on 6 December 1881, officially recommended by Edwin Long. In the summer of 1883 he toured Spain with the painter John Peter Russell. He learnt something of French Impressionism from Spanish art students Ramon Casas and Loreano Barrau (b 1864), and then followed the latter's advice to visit the Academie Julian in Paris. He returned to Melbourne in 1885 and the following year established the first summer camp at Box Hill with McCubbin and Louis Abrahams (1852-1903), portrayed in his painting the Artists' Camp (c. 1886; Melbourne, N.G. Victoria). According to the painter Arthur Streeton, it was Roberts's 'quick perception and expression of the principles of Impressionism in the year 1886,  Related Paintings of Tom roberts :. | The Quarry | Shearing the rams | The Sunny South (nn02) | The Golden Fleece | Across the Dandenongs |
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BATONI, Pompeo
Italian Rococo Era Painter, 1708-1787 He was born in Lucca, the son of a goldsmith, Paolino Batoni. He moved to Rome in 1727, and apprenticed with Agostino Masucci, Sebastiano Conca and/or Francesco Imperiale (1679-1740). By the early 1740s, however, he started to receive independent commissions. In 1741, he was inducted into the Accademia di San Luca. His celebrated painting, The Ecstasy of Saint Catherine of Siena (1743) illustrates his academic refinement of the late-Baroque style. Another masterpiece, his Fall of Simon Magus was painted initially for the St Peter's Basilica. Batoni became a highly-fashionable painter in Rome, particularly after his rival, the proto-neoclassicist Anton Raphael Mengs, departed for Spain in 1761. Batoni befriended Winckelmann and, like him, aimed in his painting to the restrained classicism of painters from earlier centuries, such as Raphael and Poussin, rather than to the work of the Venetian artists then in vogue. He was greatly in demand for portraits, particularly by the British traveling through Rome , who took pleasure in commissioning standing portraits set in the milieu of antiquities, ruins, and works of art. There are records of over 200 portraits by Batoni of visiting British patrons . Such "Grand Tour" portraits by Batoni came to proliferate in the British private collections, thus ensuring the genre's popularity in the United Kingdom, where Sir Joshua Reynolds would become its leading practitioner. In 1760, the painter Benjamin West, while visiting Rome would complain that Italian artists "talked of nothing, looked at nothing but the works of Pompeo Batoni". In 1769, the double portrait of Joseph II and Leopold II won an Austrian nobility for Batoni. He also portrayed Pope Pius VI. According to a rumor, he bequeathed his palette and brushes to Jacques-Louis David.
Jochem de Vries
painted The Zaandam shipping company Claes Tan en Zns Greenland farer Zaandam whaling in 1772
ANTHONISZ, Aert
Dutch painter (b. 1579/80, Antwerpen, d. 1620, Amsterdam)