Dutch painter (b. 1633, Leiden, d. 1707, London). was a Dutch marine painter. Willem van de Velde was baptised on 18 December 1633 in Leiden, Holland, Dutch Republic. A son of Willem van de Velde the Elder, also a painter of sea-pieces, Willem van de Velde, the younger, was instructed by his father, and afterwards by Simon de Vlieger, a marine painter of repute at the time, and had achieved great celebrity by his art before he came to London. In 1673 he moved to England, where he was engaged by Charles II, at a salary of £100, to aid his father in "taking and making draughts of sea-fights", his part of the work being to reproduce in color the drawings of the elder van de Velde. He was also patronized by the Duke of York and by various members of the nobility. He died on 6 April 1707 in London, England. Most of Van de Velde's finest works represent views off the coast of Holland, with Dutch shipping. His best productions are delicate, spirited and finished in handling, and correct in the drawing of the vessels and their rigging. The numerous figures are tellingly introduced, and the artist is successful in his renderings of sea, whether in calm or storm.   Related Paintings of VELDE, Willem van de, the Younger :. | The Cannon Shot | The Yacht Royal Escape Close-hauled in a Breeze | Ships in the Roads | Dutch Vessels Close Inshore at Low Tide,and Men Bathing | A Dutch Ship Coming to Anchor and Another Under Sail |
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John Hoppner
1758-1810 British John Hoppner Galleries John Hoppner (April 4?, 1758 - January 23, 1810), English portrait-painter, was born in Whitechapel. His father was of German extraction, and his mother was one of the German attendants at the royal palace. Hoppner was consequently brought early under the notice and received the patronage of George III, whose regard for him gave rise to unfounded scandal. As a boy he was a chorister at the royal chapel, but showing strong inclination for art, he in 1775 entered as a student at the Royal Academy. In 1778 he took a silver medal for drawing from the life, and in 1782 the Academy's highest award, the gold medal for historical painting, his subject being King Lear. He first exhibited at the Royal Academy In 1780. His earliest love was for landscape, but necessity obliged him to turn to the more lucrative business of portrait painting. At once successful, he had throughout life the most fashionable and wealthy sitters, and was the greatest rival of the growing attraction of Lawrence. Ideal subjects were very rarely at tempted by Hoppner, though a "Sleeping Venus," "Belisarius," "Jupiter and Io," a "Bacchante" and "Cupid and Psyche" are mentioned among his works. The prince of Wales visited him especially often, and many of his finest portraits are in the state apartments at St. James's Palace, the best perhaps being those of the prince, the duke and duchess of York, of Lord Rodney and of Lord Nelson, Among his other sitters were Sir Walter Scott, the Duke of Wellington, Frere and Sir George Beaumont. Competent judges have deemed his most successful works to be his portraits of women and children. A Series of Portraits of Ladies was published by him in 1803, and a volume of translations of Eastern tales into English verse in 1805. The verse is of but mediocre quality. In his later years Hoppner suffered from a chronic disease of the liver. He was confessedly an imitator of Reynolds. When first painted, his works were much admired for the brilliancy and harmony of their colouring, but the injury due to destructive mediums and lapse of time which many of them suffered caused a great depreciation in his reputation. The appearance, however, of some of his pictures in good condition has shown that his fame as a brilliant colourist was well founded. His drawing is faulty, but his touch has qualities of breadth and freedom that give to his paintings a faint reflection of the charm of Reynolds. Hoppner was a man of great social power, and had the knowledge and accomplishments of a man of the world. The best account of Hoppner's life and paintings is the exhaustive work by William McKay and W Roberts (1909
kulturen
ivar johnssons byst av georg karlin, karv i uppsyn som originalet., bares upp au en tung granitplatta med orden forntid framtid. det var det motto karlin helt i nutidsanda satt for sitt museum samlingarna sklle lara om det forgangna inspirera till det kommande.
Anthony Vandyck Copley Fielding
English 1787-1855