Related Paintings of unknow artist :. | johan edvard mandelberg | Arab or Arabic people and life. Orientalism oil paintings 518 | St. Pakistan more than martyrdom in Rome | La Virgen Hodigitria de Volynie | Arab or Arabic people and life. Orientalism oil paintings 557 |
Related Artists:
George Spencer Watson
R.O.I., R.P., A.R.A., R.A. (8 March 1869, London - 11 April 1934, London) was an English portrait artist of the late romantic school who sometimes worked in the style of the Italian Renaissance. He studied at the RA Schools from 1889, exhibited at the Royal Academy from 1891. He won Royal Academy Schools Silver Medals in 1889 and 1891, and the Landseer Scholarship in 1892. He was elected R.O.I. in 1900, R.P. in 1904, A.R.A. in 1923, and a Member of the Royal Academy (R.A.) in 1932. He married Hilda, a dancer and mime artist, and follower of the actor Edward Gordon Craig. They had a daughter, Mary Spencer Watson (1913 - 2006), who became a sculptor. In 1923 he bought Dunshay Manor in the hills of the Isle of Purbeck, after already have spent holidays in Swanage. He died in London and a memorial exhibition was held at the Fine Art Society in the same year. There is a memorial to him in the north vestibule of St James's Church, Piccadilly, London. Some of his works are held at Tate Britain, the Harris Art Gallery, Preston and collections in Bournemouth, Liverpool, Plymouth and the National Gallery of Canada. Born in London, Watson studied at the Royal Academy from 1889; he exhibited there from 1891 and also at the Paris salon. Retrospective exhibitions were held at the Galerie Heinemann, Munich in 1912, and at the Fine Art Society in 1914. His work A Lady in Black (1922) is owned by the Tate Collection.
Johannes Bosboom
(born The Hague, February 18, 1817 - died there September 14, 1891) was a Dutch painter and watercolorist of the Hague School, known especially for his paintings of church interiors. At the age of 14 he became a student of Bartholomeus van Hove and painted in his studio along with Van Hove's son Hubertus van Hove. Together they worked on the pieces of scenery that Van Hove created for the Royal Theatre in The Hague. In addition, Bosboom took lessons from 1831 to 1835 and again from 1839 to 1840 in the Hague Academy of Art. Here he also made the acquaintance of Antonie Waldorp and Wijnand Nuyen. The young Bosboom traveled to Germany in 1835 to Dusseldorf, Cologne and Koblenz and painted the watercolor View of the Mosel Bridge at Koblenz. This painting was purchased by Andreas Schelfhout, who became his confidante and friend. In 1939 he traveled to Paris and Rouen and received a silver medal for View of the Paris Quay and the Cathedral at Rouen. He also painted a number of church interiors, a relatively traditional genre in which the seventeenth century artists Pieter Saenredam and Emanuel de Witte served as important examples. Bosboom had a great deal of success with these pieces, and for the rest of his career he would repeatedly return to this theme, which was the one in which he would achieve his greatest fame. Bosboom's choice of subject matter may seem to isolate him from the rest of the Hague School, but his search for ways to reproduce the spatial atmosphere through light, shadow, and nuances of color places him in the very mainstream of this group. In 1873, during a stay in Scheveningen, he painted many watercolors of town views, the dunes, the beach and the sea. It is possible that these watercolors encouraged Hendrik Willem Mesdag and Jacob Maris to concentrate further on the sea and beach as subjects.
Francis Quarles
1592-1644,was born at Romford, London Borough of Havering, and baptized there on May 8 1592. Francis traced his ancestry to a family settled in England before the Norman Conquest with a long history in royal service. His great-grandfather, George Quarles, was Auditor to Henry VIII, and his father, James Quarles, held several places under Elizabeth I and James I, for which he was rewarded with an estate called Stewards in Romford. His mother, Joan Dalton, was the daughter and heiress of Eldred Dalton of Mores Place, Hadham. There were eight children in the family; the eldest, Sir Robert Quarles, was knighted by James I in 1608. Francis was entered at Christ's College, Cambridge, in 1608, and subsequently at Lincoln's Inn. He was made cupbearer to the Princess Elizabeth, in 1613, remaining abroad for some years; and before 1629 he was appointed secretary to Ussher, the primate of Ireland. About 1633 he returned to England, and spent the next two years in the preparation of his Emblems. In 1639 he was made city chronologer, a post in which Ben Jonson and Thomas Middleton had preceded him. At the outbreak of the Civil War he took the Royalist side, drawing up three pamphlets in 1644 in support of the king's cause. It is said that his house was searched and his papers destroyed by the Parliamentarians in consequence of these publications. Quarles married in 1618 Ursula Woodgate, by whom he had eighteen children. His son, John Quarles (1624-1665), was exiled to Flanders for his Royalist sympathies and was the author of Fons Lachrymarum (1648) and other poems. The work by which Quarles is best known, the Emblems, was originally published in 1635, with grotesque illustrations engraved by William Marshall and others. The forty-five prints in the last three books are borrowed from the Pia Desideria (Antwerp, 1624) of Herman Hugo. Each "emblem" consists of a paraphrase from a passage of Scripture, expressed in ornate and metaphorical language, followed by passages from the Christian Fathers, and concluding with an epigram of four lines. The Emblems was immensely popular with the common people, but the critics of the 17th and 18th centuries had no mercy on Quarles. Sir John Suckling in his Sessions of the Poets disrespectfully alluded to him as he "that makes God speak so big in's poetry." Pope in the Dunciad spoke of the Emblems, "Where the pictures for the page atone And Quarles is saved by beauties not his own."