Flemish Northern Renaissance Painter, 1576-1639 . was a Flanders-born Dutch baroque painter of the Golden Age. Like so many other artists, Savery's Anabaptist family fled North from the Spanish occupied Southern Netherlands when Roelant was about 4 years old and settled in Haarlem around 1585. He was taught painting by his older brother Jacob Savery (c.1565-1603) and Hans Bol. After his schooling, Savery traveled to Prague around 1604, where he became court painter of the Emperors Rudolf II (1552-1612) and Mathias (1557-1619), who had made their court a center of mannerist art. Between 1606-1608 he traveled to Tyrol to study plants. Gillis d'Hondecoeter became his pupil.[3] Before 1616 Savery moved back to Amsterdam, and lived in the Sint Antoniesbreestraat. In 1618 he settled in Utrecht, where he joined the artist's guild a year later. His nephew Hans would become his most important assistant. In 1621 Savery bought a large house on the Boterstraat in Utrecht. The house had a large garden with flowers and plants, where a number of fellow painters, like Adam Willaerts were frequent visitors. Savery had kept his house in Amsterdam, and had one child baptized in Nieuwe Kerk (Amsterdam).[4] Savery was friends with still life painters like Balthasar van der Ast and Ambrosius Bosschaert. In the 1620s he was one of the most successful painters in Utrecht, but later his life got troubled, perhaps because of heavy drinking. Though he would have pupils until the late 1630s  Related Paintings of Roelant Savery :. | Blumenstraub | Landscape w Animals | The Paradise | Rocky Landscape | Forest with Deer |
Related Artists:
Pagani, Gregorio
Italian, 1558-1605 Italian painter. He trained in the studio of the Late Mannerist Maso da San Friano, but then studied with the more progressive Santi di Tito. There he became friends with Ludovico Cigoli: the two artists, who desired to renew the art of painting, studied from nature and developed an interest in Venetian and Emilian art. Pagani was deeply influenced by Correggio. His earliest surviving works include the frescoes of the Confirmation of the Rule of St Dominic (c. 1580; Florence, S Maria Novella, Chiostro Grande) and the Meeting between SS Dominic and Francis (Florence, Convento dei Cappuccini di Monturghi). In 1592 he painted the Virgin and Saints (St Petersburg, Hermitage), a work that already reveals his interest in Correggio. In the same year he painted a Finding of the True Cross (untraced), a daring composition that is preserved in preparatory drawings. A number of works from the 1590s survive and show Pagani's interest in Emilian art; the Crucifixion and Saints (1595; Florence, S Bartolomeo in Pozzo) and the Virgin and Child with SS Michael the Archangel and Benedict (1595; Florence, S Michele Arcangelo Le Ville). At the turn of the century Pagani was increasingly associated with those Florentine artists who wished to develop a new narrative clarity and directness. His pictures (e.g. Pyramus and Thisbe; Florence, Uffizi) show figures carefully posed with varied expressions and gestures. In the early 17th century Pagani became yet more attracted by naturalism, as in the St Lawrence (1600) in the basilica of the Madonna delle Grazie at San Giovanni, Valdarno. Through his friendship with Bartolomeo Carducho he was influenced by Spanish art, as is evident in the Adoration of the Magi
Edward Mitchell Bannister
Born in Canada, Edward Mitchell Bannister moved to Boston in 1848 to work as a ship cook
Hippolyte Delaroche
(17 July 1797 - 4 November 1856), commonly known as Paul Delaroche, was a French painter born in Paris. Delaroche was born into a wealthy family and was trained by Antoine-Jean, Baron Gros, who then painted life-size histories and had many students. The first Delaroche picture exhibited was the large Josabeth saving Joas (1822). This exhibition led to his acquaintance with Theodore Gericault and Eugene Delacroix, with whom he became friends. The three of them formed the core of a large group of Parisian historical painters. He visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy in Rome. Delaroche's studio in Paris was in the Rue Mazarine. His subjects were painted with a firm, solid, smooth surface, which gave an appearance of the highest finish. This texture was the manner of the day and was also found in the works of Vernet, Ary Scheffer, Louis-Leopold Robert and Jean Auguste Dominique Ingres. Among his students were British landscape artist Henry Mark Anthony (1817-1886),