Dutch Baroque Era Painter, 1637-1712 Dutch painter, draughtsman, printmaker and inventor. In 1650 he moved to Amsterdam with his family; his father, a Mennonite, who had pursued various occupations rather unsuccessfully, died that year. Jan's artistic training may have begun with drawing lessons in the studio of a relative, perhaps his eldest brother, Goris van der Heyden, who made and sold mirrors; Jan may also have studied the reverse technique of glass painting with an artist in Gorinchem. Painting occupied relatively little of his time, however, although he continued to pursue it throughout his long life. His prosperity was mainly due to his work as an inventor, engineer and municipal official. He designed and implemented a comprehensive street-lighting scheme for Amsterdam, which lasted from 1669 until 1840 and was adopted as a model by many other towns in the Netherlands and abroad. In 1672,   Related Paintings of HEYDEN, Jan van der :. | View of the Westerkerk, Amsterdam f | Approach to the Town of Veere | proach to the Town of Veere | View of the Herengracht, Amsterdam | Approach to the Town of Veere af |
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BARTOLOMEO DI GIOVANNI
Italian Early Renaissance Painter, active 1475-1511 Bartolomeo di Giovanni, also known as Bartolommeo di Giovanni and as Alunno di Domenico, was an early renaissance Italian painter of the Florentine School who was active from about 1480 until his death in 1501. He studied with and assisted Domenico Ghirlandaio, painting the predella of Ghirlandaio's Adoration of the Magi in the Ospedale degli Innocenti (Foundling Hospital) in Florence, in 1488. Bartolomeo di Giovanni also worked under the guidance of Sandro Botticelli.
POUSSIN, Nicolas
French Baroque Era Painter, 1594-1665 French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response,
Konstantin Makovsky
1839 September 17 [O.S. September 30] 1915) was an influential Russian painter, affiliated with the "Peredvizhniki (Wanderers)". Many of his historical paintings, such as The Russian Bride's Attire (1889), showed an idealized view of Russian life of prior centuries. He is often considered a representative of a Salon art. Konstantin was born in Moscow as the older son of a Russian art figure and amateur painter, Yegor Ivanovich Makovsky. Yegor Makovsky was the founder of Natural class, the art school that later became as the famous Moscow School of Painting, Sculpture and Architecture. Among the friends of the family were Karl Briullov and Vasily Tropinin. All children of Yegor became notable painters (see Makovsky). Later Konstantin wrote For what I became I think I should thank not the Academy or Professors but only my father. In 1851 Konstantin entered the Moscow School of Painting, Sculpture and Architecture where he became the top student, easily getting all the available awards.