Related Paintings of unknow artist :. | Queen Caroline (Bonaparte) of Naples in the tradiontal costume of a Neapolitean farmer. | Floral, beautiful classical still life of flowers 019 | Classical hunting fox, Equestrian and Beautiful Horses, 209. | Iskander Meets with the Sages,from the Khamsa of Nizami | valrossar |
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Arthur Quartley
(May 24, 1839 - May 19, 1886), was an American painter known for his marine seascapes. Quartley was born in Paris and lived there to the age of twelve, when his family moved to Baltimore, Maryland. He studied drawing with his father C.G. Quartley, who was an English engraver. His father was reputed to have demanded two drawings per week from the young lad. At age 17, Arthur was apprenticed to a sign painter in Baltimore. In 1862 Quartley and his family founded a design firm in Baltimore. The firm Emmart & Quartley was regarded as the best decorating company in the city (Dictionary of American Biography); however, young Quartley began painting marine seascapes of Chesapeake Bay, and progressively spent more and more time in that pursuit. He held a successful show of marine paintings at the studio of Norval H. Busey in Baltimore. Scholar Elizabeth Johns remarked that Quartley's work reveals familiarity with the Dutch Masters marine tradition of composition in treatment of light and color. To pursue his painting more seriously, Quartley moved to New York City in 1875. New York at that time had become a premier center for notable painters. From there he painted seascapes of Long Island bays, New York Harbor, the New Hampshire Isle of Shoals, and Naragansett Bay in Rhode Island. The Hudson River School was waning at this point, so that other groups were forming, among them the Tilers, of whom Quartley was a founding member. The Tilers was a group of artists and writers, that included such luminaries as Winslow Homer, William Merritt Chase, and Augustus Saint Gaudens. They met frequently to exchange ideas and decorate ceramic tiles in promotion of their works. They also took excursions for painting, such as the 1878 pilgrimage to Eastern Long Island by Quartley and ten others. On that trip Quartley painted Seascape and also a blue painted tile of an introspective girl at the beach. The journalist and philanthropist John W. McCoy promoted the careers of Quartley and of his friend, the sculptor William H. Rinehart.
James Gibbs
1682-1754 James Gibbs was born at Footdeesmire near Aberdeen, Scotland, in December 1682, the younger son of a Scottish gentleman. As a young man, he traveled on the Continent, pursuing his fondness for drawing. In Rome he determined to become an architect and entered the school of Carlo Fontana. Gibbs became acquainted with many members of the English aristocracy, for whom he made drawings and who were helpful to him in later life. He returned to England in 1709. Through the influence of Edward Harley, Earl of Oxford, Gibbs was made one of the surveyors to the commissioners for building 50 new churches in London in 1713, and in this capacity he designed St. Mary-le-Strand (1714-1717), his first public building. Here he expressed not only influences of Sir Christopher Wren but also ideas absorbed from Italian baroque and mannerist architecture. Gibbs was employed by Lord Burlington in rebuilding the east block of Burlington House, Piccadilly, before that patron embraced Palladianism, but was superseded by the earl protege, Colen Campbell. When the Whigs, who supported the Palladians, came to power, Gibbs as a Tory of baroque tendencies lost his official post in 1715, but his private practice among Tory patrons continued to be exclusive and remunerative. He built Cannons House, Middlesex (1716-1719; demolished 1747) for the Duke of Chandos; added a chapel and library at Wimpole Hall, Cambridgeshire (ca. 1720), for Lord Harley; built the exquisite Octagon Room at Twickenham, Middlesex (1720), with beautiful plasterwork by Italian stuccoworkers; and erected Ditchley House, Oxfordshire (1720-1725), probably his most splendid house, for the Earl of Lichfield, again with remarkable plasterwork by Italian craftsmen. But public commissions were not entirely lacking. In 1720 Gibbs designed St. Martins-in-the-Fields (built 1722-1726), one of his outstandingly beautiful works. Like St. Mary-le-Strand and many of his houses, the interior was decorated with plasterwork by the fashionable Italian stuccoworkers, who probably came to England through his encouragement. St. Martins was followed by another building of extreme elegance and dignity, the Senate House at Cambridge (1722-1730), as well as the new buildings of King College. Many of the ornamental buildings in the park at Stowe House, Buckinghamshire, are his work, including the Temple of Diana (1726), the Temple of Friendship (1739), the Gothic Temple (1740), and the Column with a statue of Lord Cobham. Gibbs general influence among architects and clients was great because of his exhaustive knowledge of architecture acquired through long study in Rome, an experience rare among architects of that generation, although later more common. This influence he extended by means of his Book of Architecture (1728), a record of both his executed and unexecuted work, and especially his Rules for Drawing the Several Parts of Architecture (1732), a work used by countless architects, students, scholars, and builders up to the present day. Of Gibbs later works the circular Radcliffe Library at Oxford (1737-1749) is his most ambitious and monumental achievement; it shows much influence of Nicholas Hawksmoor. Gibbs published the designs in the large folio volume Bibliotheca Radcliviana in 1747, and he received from the university the honorary degree of master of arts. He designed the new decorations of Ragley Hall, Warwickshire (ca. 1750-1755), in the rococo taste then becoming fashionable. A distinguished late work is the church of St. Nicholas at Aberdeen (1751-1755). In his last years Gibbs held the sinecure post of architect to the Office of Ordnance. He died in London on Aug. 5, 1754. In his early buildings, especially in his churches, Gibbs displayed that discreet form of the baroque which he had absorbed from Carlo Fontana in Rome and also from Wren example. Characteristic features of his work are window architraves interrupted by prominent rustication blocks, oeil de boeuf (oxeye) windows, boldly projecting cornices, and parapets topped by urns. In his later buildings the exterior form conformed more closely to severe Palladian principles, but the interiors retained a baroque exuberance.
MASTER of the Duke of Bedford
French Early Renaissance Miniaturist, active 1405-1435