1685-1766 French Jean Marc Nattier Gallery Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Academie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as cold. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Academie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage). The Tsar offered Nattier work at the Russian court, but the artist declined the offer. He remained in Paris for the rest of his life.  Related Paintings of Jean Marc Nattier :. | duquesa de orleans como hebe | A. B. Kurakin | A.B.Kurakin | Madame Adelaide de France | Peter I |
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john D.rockefeller
new york metropolian museum, cloisters collection
John Haberle
(1856-1933) was a 19th-century American painter in the trompe l'oeil (literally, "fool the eye") style. His still lifes of ordinary objects are painted in such a way that the painting can be mistaken for the objects themselves. He is considered one of the three major figuresetogether with William Harnett and John F. Petoepracticing this form of still life painting in the United States in the last quarter of the 19th century. Haberle was born in New Haven, Connecticut; his parents were Swiss immigrants. At the age of 14 he left school to apprentice with an engraver. He also worked for many years as an exhibit preparator for the Peabody Museum of Natural History at Yale University. His career as a painter began in 1887. His style is characterized by a meticulous rendering of two-dimensional objects. He is especially noted for his depictions of paper objects, including currency. Art historian Alfred Frankenstein has contrasted Haberle's work with that of his contemporaries: Peto is moved by the pathos of used-up things. Haberle is wry and wacky, full of bravado, self-congratulating virtuosity, and sly flamboyance. He works largely within an old tradition, that of the trompe l'oeil still life in painted line ... It is poles away from Harnett's sumptuosity, careful balances, and well-modeled volumes, and is equally far from Peto's sensitivity in matters of tone and hue. A Bachelor's Drawer (1890-94) is typical of his approach: various papers, including currency, postage stamps, photos, playing cards, tickets, and newspaper clippings, are shown affixed to an essentially planar surface. Other objectseeyeglasses, a comb, a pipe, matches, and so oneare shallow enough in volume so as not to spoil the illusion. Like Harnett, he was warned by the Secret Service to cease and desist painting paper money, but he continued to do so throughout his years of greatest productivity; examples include The Changes of Time (1888) and Can You Break a Five? (c. 1885). He painted other subjects such as Slate (c. 1895), a bin of peanuts in Fresh Roasted (1887), The Clay Pipe (1889), and the huge Grandma's Hearthstone (1890), in the collection of the Detroit Institute of Arts. By the turn of the century, problems with his eyes diminished Haberle's activity as an artist. Among his later works are paintings of flowers executed in a looser style, and in 1909 he painted his final trompe l'oeil, the large Night, in the collection of the New Britain Museum of American Art, New Britain, Connecticut. Haberle died in 1933.
Frank Bernard Dicksee
(b. London, 27 November 1853 - 17 October 1928) was an English Victorian painter and illustrator, best known for his pictures of dramatic historical and legendary scenes. He also was a noted painter of portraits of fashionable women, which helped to bring him success in his own time. Dicksee's father, Thomas Dicksee, was a painter who taught Frank as well as his brother Herbert and his sister Margaret from a young age. Dicksee enrolled in the Royal Academy in 1870 and achieved early success. He was elected to the Academy in 1891 and became its President in 1924. He was knighted in 1925, and named to the Royal Victorian Order by King George V in 1927. Dicksee painted the piece 'The Funeral of a Viking' in 1893, which now resides in Manchester City Art Gallery, having been there since 1928 when it was presented by Arthur Burton ESQ in memory of his mother to the Corporation of Manchester. Victorian critics gave it both positive and negative reviews, for its perfection as a showpiece and for its dramatic and somewhat staged setting, respectively. The painting was used by Swedish Viking/Black metal band Bathory for the cover of their 1990 album, Hammerheart.