painted Mother Combing the Hair of Her Child. in 1652  Related Paintings of Gerard ter Borch the Younger :. | Three Figures conversing in an Interior, known as The Paternal Admonition | The Message | Reading a letter | The Reading Lesson | Portrait of Gerard Abrahamsz. van der Schalcke (1609-1667 |
Related Artists:
Arthur Fitzwilliam Tait
(February 5, 1819 -April 28, 1905) was an American artist who is known mostly for his paintings of wildlife. During most of his career, he was associated with the New York City art scene. Tait was born in Lively Hall near Liverpool, England. At eight years old, because his father went bankrupt he was sent to live with relatives in Lancaster. It is during that time that he became attached to animals. Later on, in Manchester, England, Agnew & Zanetti Repository of Art acquired Arthur Tait who began self-learning to paint, as a twelve-year-old boy.
Frans de Momper
Flemish Baroque Era Painter, 1603-1660 Painter and draughtsman, nephew of (1) Josse de Momper II. In 1629 he became a master in the Antwerp Guild of St Luke. He left Antwerp for the northern Netherlands, working initially at The Hague; by 1647 he was in Haarlem and the following year Amsterdam, where he married in 1649. In 1650 Frans returned to Antwerp, where he painted numerous monochrome landscapes in the manner of Jan van Goyen. Paintings such as the Valley with Mountains (c. 1640-50; Philadelphia, PA, Mus. A.) prefigure the imaginative landscapes of Hercules Segers. The impression of vast panoramic spaces in Frans's work is adopted from his uncle's art. Frans executed a number of variations on the theme of a river landscape with boats and village (e.g. pen-and-ink drawing, Edinburgh, N.G.). In the late painting Landscape with a Ch?teau Encircled by Doves (Bordeaux, Mus. B.-A.), the low horizon and light-filled sky are adopted from the new Dutch school of tonal landscape painting, while the delicacy of the figures, feathery trees and buildings are features of the Italo-Flemish tradition exemplified by his uncle. Similar qualities of refinement and luminosity characterize the Winter Landscape (c. 1650; Prague, N.G., Sternberk Pal.),
Semyon Fyodorovich Shchedrin
(1745-1804) was a Russian landscape painter, the uncle and mentor of Sylvester Shchedrin. He was born in St. Petersburg into the family of a life guard. In 1759, he entered the Academy of Arts in St. Petersburg, and in 1765 graduated with a gold medal and grants to study abroad. Shchedrin ventured to Paris, then to Rome. In Paris he studied the works of old and contemporary painters. Under the influence of Rousseau's idea that beauty exists not only in classic patterns of arts but also in everyday life and nature, Shchedrin worked much en plein-air, otherwise known as painting in outdoor environments. In Rome, however, he fell under the influence of classicism, the idea that art should reflect the works of antiquity and thus prolong their successes. Shchedrin returned to St. Petersburg in 1776 and became a professor of landscape painting in the Academy of Arts. He was assigned to draw views of the palaces and parks of Catherine the Great, which brought into existence such works as View of the Large Pond Island in the Tsarskoselsky Gardens (1777), View of the Large Pond in the Tsarskoselsky Gardens (1777), View of the Farmyard in the Tsarskoye Selo (1777). After 1780, Shchedrin also participated in the restoration of pictures in the Hermitage, and in 1799 he headed a new class of landscape graphics. The pinnacle of his art career came in the 1790s. The most famous of his works of the period are views of parks and palaces in Pavlovsk, Gatchina, and Petergof: The Mill and the Peel Tower at Pavlovsk (1792), View of the Gatchina Palace from the Silver Lake (1798), View of the Gatchina Palace from Long Island (1798), The Stone Bridge at Gatchina (1799-1801), View of the Kamennoostrovsky Palace through Bolshaya Nevka from the Stroganov Seashore (1803).