Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.  Related Paintings of Caravaggio :. | St Catherine of Alexandria | Deposition of Christ | The Sacrifice of Isaac fdg | The conversion of St. Paul | The Sacrifice of Isaac |
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William Sidney Mount
1807-1868 William Sidney Mount Galleries William Sidney Mount (November 26, 1807 ?C November 19, 1868) born in Setauket, New York was a renowned genre painter and contemporary of the Hudson River School. Mount trained at the National Academy of Design in New York. Two of his more famous paintings are Eel Spearing at Setauket (1845, New York State Historical Association, Cooperstown) and Bargaining for a Horse (1835, New-York Historical Society, New York City). Beginning as a history painter, Mount moved to depicting scenes from everyday life. The largest collection of his works is located in The Long Island Museum of American Art, History, and Carriages His home and studio, the William Sidney Mount House, is a National Historic Landmark. One of the local elementary schools in The Three Village Central School District is named in his honor, as is PS 174 elementary school in Rego Park, Queens. A residential building is named after him on the Stony Brook University campus.
Pieter Gysels
1621-1691 Flemish Pieter Gysels Gallery Flemish painter. He began his training in 1641, when he was already 20, with Antwerp painter Jan Boots. Houbraken assumed he was also apprenticed to Jan Breughel II, whose diary describes a painting completed in 1638 as a 'small wild boar somewhat touched up by Gys' ('een klein wilt verxken voor Gys wat geretosieert'). But it seems highly doubtful that, as van der Sanden claimed (Denuce, p. 155), 'Gys' refers to Pieter Gysels. In 1649 or 1650 he became a master in Antwerp's Guild of St Luke. It is not known whether he took on any pupils. On 13 November 1650 he married Joanna Huybrecht, who bore him six children.
MALOUEL, Jean
Netherlandish Gothic Era Painter, ca.1365-1415 North Netherlandish painter, active in Burgundy. He was the son of the heraldic artist Willem Maelwael and uncle of the Limbourg brothers. First recorded as a painter in 1382, he is then documented on 20 September 1396 for a commission to provide designs for textiles with decorative armorial bearings for Queen Isabeau of Bavaria, wife of Charles VI, for which he received payment on 27 March 1397. By 5 August 1397 he was in Dijon, where he succeeded Jean de Beaumetz as court painter and Valet de Chambre to Philip the Bold, Duke of Burgundy. Malouel was highly paid, and his annual pension was considerably more than that of Beaumetz or of the sculptor Claus Sluter. One of the first works Malouel produced for the Duke was a painting of the Apostles with St Anthony (untraced), paid for on 11 November 1398, which the Duke is known to have kept in his private oratory. On 18 March 1398 wooden supports were purchased for Malouel to paint five large altarpieces for the Charterhouse of Champmol, outside Dijon. The subject-matter of the paintings is not specified in the document, although the dimensions of the panels are given. The Martyrdom of St Denis (Paris, Louvre; for illustration see BELLECHOSE, HENRI) has been identified as one of these five panels, on the basis of its possible provenance and its dimensions, which correspond approximately to those given in the document. In May 1416, however, Henri Bellechose received pigments to 'perfect' a painting of the Life of St Denis, and this document, in conjunction with the earlier one, has been interpreted to suggest that Bellechose completed a work left unfinished by Malouel.