(December 15, 1610 C April 25, 1690), a Flemish artist born in Antwerp, was the more celebrated son of David Teniers the Elder, almost ranking in celebrity with Rubens and Van Dyck. His son David Teniers III and his grandson David Teniers IV were also painters. His wife Anna nee, Anna Breughel was the daughter of Jan Brueghel the Elder and the granddaughter of Pieter Bruegel the Elder. Through his father, he was indirectly influenced by Elsheimer and by Rubens. The influence of Adriaen Brouwer can be traced to the outset of his career. There is no evidence, however, that either Rubens or Brouwer interfered in any way with Teniers's education, and Smith (Catalogue Raisonne) may be correct in supposing that the admiration which Brouwer's pictures at one time excited alone suggested to the younger artist his imitation of them. The only trace of personal relations having existed between Teniers and Rubens is the fact that the ward of the latter, Anne Breughel, the daughter of Jan (Velvet) Breughel, married Teniers in 1637.   Related Paintings of David Teniers the Younger :. | The Painter and His Family | Die Galerie des Erzherzogs Leopold Wilhelm in Brussel | Tavern Scene | The Temptation of St Anthony | Die Galerie des Erzherzogs Leopold Wilhelm in Brussel |
Related Artists:
John F.Francis
American Painter, 1808-1886 American painter. Beginning as an itinerant portrait painter in rural Pennsylvania, he produced works including flattering, colourful portraits of his sisters in the style of Thomas Sully, often incorporating small still-life details. He abandoned portraiture after 1850 to concentrate exclusively on still-life subjects in the tradition of the PEALE family.
John O Brien Inman
American, 1828-1896
Ludovic Piette
French Painter, 1826-1878.French painter. He studied at the Ecole des Beaux-Arts in Paris during the 1850s under Isidore Pils and Thomas Couture. He attended classes at the Acad?mie Suisse and made his Salon d?but in 1857 with The Scorpion Broom (ex-Mus. B.-A., Rouen). His early works were often based on literary sources and include The Phantoms (exh. Salon 1859) and The Witches Appearing to Macbeth (exh. Salon 1861). Piette only exhibited at the Salon on two further occasions (1872 and 1876), preferring instead to sell his work at auction in the H?tel Drouot. In the early 1860s he abandoned literary subjects in favour of working directly from nature, a shift that probably relates to his developing friendship with Camille Pissarro. This association is first documented by Pissarros portrait of Piette in his Studio (1861; Dr and Mrs Jordan H. Trafimow priv. col.) and an important correspondence between the two artists from 1863 to 1877 survives. Piette portrayed Pissarro painting out of doors (c. 1870; priv. col., see Pissarro, exh. cat., ACGB, 1980, no. 322).