Dutch painter, Dordrecht school (b. 1642, Dordrecht, d. 1722, Dordrecht) Dutch painter. He was the eldest son of Pieter Jansz. van Calraet (c. 1620-81), a sculptor from Utrecht. According to Houbraken, Abraham was taught by the Dordrecht sculptors Aemilius and Samuel Huppe, although nothing is known of his activity as a sculptor. Houbraken also stated that Abraham learnt to paint figures and fruit and that his brother Barent van Calraet (1649-1737), who specialized at first in horse paintings but later imitated the Rhine landscapes of Herman Saftleven, was a pupil of Aelbert Cuyp (see CUYP, (3)). The known signed works by Barent confirm this. A painting of two horses in a stable, initialled APK (Rotterdam, Mus. Boymans-van Beuningen), indicates that Abraham, too, must have been well acquainted with Cuyp and provides the basis for identifying Abraham's painting style. A large number of landscapes with horses, paintings of livestock in stables and still-lifes, all initialled A.C. and formerly attributed to Aelbert Cuyp,  Related Paintings of CALRAET, Abraham van :. | Fortune Telling | Family Group | Placz na pogorzelisku po napadzie Tatarow | European city landscape, street landsacpe, construction, frontstore, building and architecture. 217 | Die Muttergottes in der Kirche |
Related Artists:
Aurelia de sousa
1869-1922
anna dorothea therbusch
1721-82 German painter of Polish descent. She was taught by her father, the portrait painter Georg Lisiewski (1674-1751), and received further training from Antoine Pesne in Paris. She worked for Charles-Eugene, Count of W?rttemberg, in Stuttgart from 1761 to 1762, and for Charles Theodore Wittelsbach, Elector Palatine of the Rhine, in Mannheim from 1763 to 1764. In 1765 she returned, via Stuttgart and Hohenzollern-Hechingen, to Paris, where in 1767 she became a member of the Academie Royale. She met Denis Diderot and Philipp Hackert, both of whom she painted, and Charles-Nicolas Cochin , but, despite consistent support from Prince Galitsyn, she was unable to establish herself in Paris. In 1769 she returned to Berlin where she received commissions for mythological paintings (e.g. Diana and her Nymphs, 1771; Potsdam, Neues Pal.) from Frederick II, King of Prussia. She painted portraits of members of the Prussian court, and the Berlin bourgeoisie, and in 1773 was commissioned by Catherine II, Empress of Russia, to paint a portrait of the Prussian royal family.
Claude-joseph Vernet
French Painter, 1714-1789 Vernet probably received his first lessons in painting from his father, Antoine, who then encouraged him to move to the studio of Philippe Sauvan (1697-1792), the leading master in Avignon. Sauvan supplied altarpieces to local churches and decorative works and mythologies for grand houses in the area. After this apprenticeship Vernet worked in Aix-en-Provence with the decorative painter Jacques Viali ( fl 1681- 1745), who also painted landscapes and marine pictures. In 1731 Vernet independently produced a suite of decorative overdoors for the h?tel of the Marquise de Simiane at Aix-en-Provence; at least two of these survive (in situ) and are Vernet's earliest datable landscapes. These are early indications of his favoured type of subject, and Vernet would have studied works attributed to such 17th-century masters as Claude Lorrain, Gaspard Dughet and Salvator Rosa in private collections at Aix and Avignon. Three years later Joseph de Seytres, Marquis de Caumont, who had previously recommended Vernet to the Marquise de Simiane, offered to sponsor a trip to Italy.