(1815 - 1878) was an Italian painter, originally a goldsmith. He was born and died in Milan, and studied in the Academy of Fine Arts in Milan, as well as under Luigi Sabatelli and at Rome. He tried successively the Neoclassicism and Romantic schools, but afterwards settled down to depict popular life at Milan. In 1848 he took part with the Revolution, and had in consequence to flee to Switzerland. Thence he passed to Tuscany, and did not return home until 1859. His brother Gerolamo Induno was also a painter. Domenico married the sister of the Swiss painter Angelo Trezzini. Domenico often painted patriotic canvases, in a style indebted both to Ingres and Francesco Hayez. Among his paintings are:   Related Paintings of Domenico Induno :. | Portrait of a Young Woman r | The Forest of Fontainebleau, Morning | Lamentation of Christ | Prince Augustus of Prussia | Wave |
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JOUVENET, Jean-Baptiste
French painter (b. 1644, Rouen, d. 1717, Paris). French painter, one of a family of painters. He worked in Paris in the studio of Charles Le Brun, whose manner he acquired and whose favor at court he shared. He is best known for his religious paintings; the most important are the series of four canvases for St. Martin des Champs, including the Miraculous Draught of Fishes
BRAMER, Leonaert
Dutch Baroque Era Painter, 1596-1674
Louis Le Nain
1593-1648 French Louis Le Nain Gallery French family of painters. Antoine Le Nain (b Laon, c. 1600; bur Paris, 26 May 1648) and his brothers Louis Le Nain (b Laon, c. 1600; bur Paris, 24 May 1648) and Mathieu Le Nain (b Laon, c. 1607; bur Paris, 26 April 1677) lived together and shared a studio in Paris. Since the studio was headed by Antoine, he is assumed to have been older than Louis. The brothers reputation rests on a number of paintings signed Le Nain, on the basis of which other paintings (but no drawings) have also been attributed to them. None of the signed paintings bears a Christian name, and there is no secure way of attributing works to the individual brothers, although many attempts have been made. Eighteenth-century sale catalogues, fearful of anonymity, effectively chose from the three names at random. Since the writings of Witt (1910) and Jamot (1922) in particular, it has been habitual to ascribe small paintings on copper to Antoine, and austere, larger peasant scenes to Louis. This division of hands will be found in almost all the subsequent literature on the artists, although it must be stressed that there is no evidence at all to support it. Great efforts have also been made to identify works by Mathieu, since he survived his brothers by nearly 30 years and presumably continued to paint after their deaths in 1648. However, no such activity after 1648 is securely documented, and none of the surviving works bears a date later than 1647; and the arguments for a separate Mathieu oeuvre, though cogent, should not be regarded as conclusive. The outstanding feature of the work of the Le Nain brothers, and the basis of their celebrity since the mid-19th century, is the artists treatment of the poor.