French Baroque Era Painter, 1661-1722 director of the French Royal Academy and principal painter of Louis XV. He illustrated many literary works, including editions of Moliere's plays, and was himself a prolific dramatist. Coypel wrote one fairy tale, Agla ou Nabotine (Agla or Little One?), published posthumously in 1779. Coypel weaves several traditional fairy tale motifs into the story of a benevolent fairy who tests the kindness and sincerity of an ugly little girl whose virtue is eventually rewarded with beauty and the love of a handsome young man.   Related Paintings of COYPEL, Antoine :. | Table | Scheveningen beach in stormy weather | Saint John the Baptist | Left part of the-lions panel-and a Herd nose horns | gosshuvud |
Related Artists:
Frans Jansz van Mierisi
1635-1681 Dutch Frans Jansz van Mierisi Gallery
ARALDI, Alessandro
Italian Painter, ca.1460-1530 He apparently assisted with contemporary Cristoforo Caselli (il Temperello). His work shows the influences of early Venetian Renaissance painters such as Giovanni Bellini and Vivarini, but also Lorenzo Costa from Ferrara. He painted frescoes in the Benedictine monastery of San Paolo. He also painted two scenes with the story of St. Catherine, the Dispute before the emperor Maximilian and St. Catherine and St. Jerome, including an odd Annunciation (1514), for the abbess Giovanna da Piacenza (1514). Antonio Allegri (Correggio) would complete his own masterpiece frescoes for the abbess in a strikingly different, and for the age, more modern, style.
Nicolae Grigorescu
Romanian Painter, 1838-1907 From 1848 he trained in Bucharest with various church painters, producing icons and religious mural decorations. These works, which soon attracted attention, were influenced in style by the Viennese classicism widespread in the Romanian principalities in the early 19th century and by the Italian academicism established there after 1850 by Gheorghe Tattarescu. The earliest of his known paintings are in the church of SS Constantin and Elena at Baicoi, where his signature can be seen beside that of Nita Pereescu on the icon of St George (1853). He subsequently painted a series of icons (1854-5) at Caldarusani Monastery. In the later ensembles he was assisted by his older brother Georghe Grigorescu, who participated under his direction in the decoration of churches, such as those of the Zamfira (1856-8) and Agapia (1858-60) monasteries. In Nicolae's paintings at Agapia, classicism in Romanian art reached its highest point. The royal icons are distinguished for the elegance of the figures, both in their attitudes and in their drapery.