Pieter Leermans (ca.1635, Leiden - 1706), was a Dutch Golden Age painter. he was a portrait painter of historical allegories. He is also known as Lieremans Little is known of his life, but he is considered to be one of the Leiden fijnschilders   Related Paintings of Pieter Leermans :. | A Young girl seated at a plano,holding a usic sckre | El Gran Canal con San Simeone Piccolo y Santa Luca | Imagine in the cities and towns the Arc de Triomphe | Bathers (mk09) | Deposition Diptych |
Related Artists:
BOEL, Pieter
Flemish Baroque Era Painter, 1622-1674 Flemish painter, draughtsman and etcher. He came from an artistic family: his father Jan Boel (1592-1640), was an engraver, publisher and art dealer; his uncle Quirin Boel I was an engraver; and his brother Quirin Boel II (1620-40) was also a printmaker. Pieter was probably apprenticed in Antwerp to Jan Fyt, but may have studied previously with Frans Snyders. He then went to Italy, probably visiting Rome and Genoa, where he is supposed to have stayed with Cornelis de Wael. None of Boel's work from this period is known. In 1650 he became a master in the Antwerp Guild of St Luke (having given his first name as Jan, not Pieter). His marriage to Maria Blanckaert took place at about the same time. Boel dated only a few of his paintings, making it difficult to establish a chronology. He is best known for his hunting scenes, some of which clearly show his debt to Snyders, but the dominant influence on his work was that of Fyt, particularly evident in his emphatic brushwork. However, Boel was more restrained both in his treatment and in his handling of outline. He also borrowed the theme of open-air hunting still-lifes (e.g. Feathered Game with Three Dogs; Madrid, Prado) from Fyt, but he painted other subjects as well, such as the monumental Vanitas Still-life (e.g. 1633; Lille, Mus. B.-A.).
WITZ, Konrad
b. cca 1400, Rottweil, d. ca. 1445, Basel. German-born painter from Rottweil in Swabia, active in Switzerland. German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art,
Claude Gillot
(April 28,1673 Langres - May 4,1722 Paris) was a French painter, best known as the master of Watteau and Lancret. He had Watteau as an apprentice between 1703 and 1708. He was a painter, engraver, book illustrator, metal worker, and designer for the theater. His sportive mythological landscape pieces, with such titles as Feast of Pan and Feast of Bacchus, opened the Academy of Painting at Paris to him in 1715; and he then adapted his art to the fashionable tastes of the day, and introduced the decorative fetes champetres, in which he was afterwards surpassed by his pupils. He was also closely connected with the opera and theatre as a designer of scenery and costumes.