French Painter, 1718-1762, French painter and engraver. A pupil in Paris of Jean Restout II, in 1745 he failed to win the Prix de Rome and at his own expense went to Rome early in 1747. The following year, by which time he was a member of the circle of Paolo Anesi, Philothee-Francois Duflos, Jean-Laurent Legeay and Giovanni Battista Piranesi, Barbault made engravings for the Varie vedute di Roma antica e moderna published in Rome. As a painter he was encouraged by Jean-Francois de Troy, director of the Academie de France, who commissioned from him 20 small pictures representing characters from the Turkish masquerade organized by the pensionnaires for the carnival of 1748, of which 11 survive (Beauvais, Mus. Dept. Oise; Narbonne, Mus. A. & Hist.; Paris, Louvre (see fig.); Venice, Col. Cini; and elsewhere). When, by special favour, he became a pensionnaire at the Acad?mie (1749-53), he made a copy (Lille, Mus. B.-A., destr. 1916) for Louis XIV of Luca Penni's fresco the Baptism of Constantine in the Vatican Stanze (it was then attributed to Raphael). While travelling in Rome, Abel-Fran?ois Poisson de Vandieres, Marquis de Marigny, commissioned a series of Italian Costumes, of which some of the originals or replicas remain (Castres, Mus. Goya; Dijon, Mus. B.-A.; Orleans, Mus. B.-A.; Paris, Louvre). In 1751 Barbault depicted the planned procession of the pensionnaires for the carnival in a frieze-like painting (380*3920 mm), the Masquerade of the Four Corners of the World (Besaneon, Mus. B.-A. & Arch?ol.). Many of Barbault's idealized Roman landscapes date from this period (examples Angers, Mus. B.-A.; Baltimore, MD, Walters A.G.; Madrid, Mus. Cerralbo; Notre Dame, IN, Snite Mus. A.; and elsewhere), but above all he wanted to be a painter in the grand manner, painting St Francois de Sales Placing Jeanne de Chantal under the Protection of St Vincent de Paul (Rome, SS Giovanni e Paolo) for the beatification of Ste Jeanne de Chantal in 1751.  Related Paintings of Jean Barbault :. | Details of Totenfeier fur die Hl.Fina | Study for the Martyrdom of St.Symphorian (mk04) | Knabenkopf nach rechts geneigt | Still life floral, all kinds of reality flowers oil painting 341 | The Figure of Christ |
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Henry Ferguson
American, 1842 - 1911
LELY, Sir Peter
Dutch/English painter (b. 1616, Soest, d. 1680, London Dutch painter, draughtsman and collector, active in England. By a combination of ability and good fortune, he rapidly established himself in mid-17th-century London as the natural successor in portrait painting to Anthony van Dyck. Between van Dyck's death in 1641 and the emergence of William Hogarth in the 1730s, Lely and his successor, Godfrey Kneller, were the leading portrait painters in England. After the restoration of the monarchy in 1660, Lely dominated the artistic scene, and his evocation of the court of Charles II is as potent and enduring as was van Dyck's of the halcyon days before the English Civil War. Although Lely's reputation was seriously damaged by portraits that came from his studio under his name but without much of his participation, his development of an efficient studio practice is of great importance in the history of British portrait painting. The collection of pictures, drawings, prints and sculpture
Helel Allingham,RWS
1848-1926 was a well-known watercolour painter and illustrator of the Victorian era. Helen Mary Elizabeth Paterson was born in Swadlincote in Derbyshire,[1] England. Her sister and her father, a doctor, died of diphtheria in 1862, and the rest of the family went to live in Birmingham. In 1867 she went to study art at the "Female School of Art", a section of what became the Royal College of Art in London, and became an illustrator of children's books. She was a great friend of Kate Greenaway. On 22 August 1874, she married William Allingham, who was almost twice her age. At the time, she was employed in illustrating some of the novels of Thomas Hardy, and they were attracted to one another when they met. Helen Allingham illustrated several books, including Six to sixteen: a story for girls (1876), Happy England (1903) and The homes of Tennyson (1905), written with her brother Arthur Paterson. After her marriage to Allingham, she became a watercolour painter, and she was the first woman to become a full member of the Royal Watercolour Society.