Dutch Baroque Era Painter, 1621-ca.1663 Painter and draughtsman, son of Jan Baptist Weenix. Jan probably received his first instruction as a painter from his father, and it is possible that he helped finish certain of his father's works. He probably remained in Utrecht after his father's death. By 1664 he had become a member of the Guild of St Luke in Utrecht without, however, having submitted the required entrance painting, which he provided by 1668. There are several documented references to Jan in the late 1660s. He inherited a legacy along with his uncle, the painter Barent Micker, and other family members in 1667, at which time Gillis, his younger brother, apparently still required a guardian. He received another legacy in 1668, the year of his marriage, and in 1669 served as a witness for the inventory of the painter Jacob de Hennin (1629-c. 1688) in The Hague.   Related Paintings of WEENIX, Jan Baptist :. | Dead Partridge | Scenery from Ojcow | The Ford | Detail of Ancient Ruins | Ancient Ruins |
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LAWRENCE, Sir Thomas
English painter (b. 1769, Bristol, d. 1830, London). Thomas Lawrence was born in Bristol on May 4, 1769. At Devizes, where his father was landlord of the Black Bear Inn, Thomas's talents first became known. Fanny Burney, a prodigy herself, reports that in 1780 Sir Joshua Reynolds had already pronounced Lawrence the most promising genius he had ever met. When Thomas was 10, his father moved the family to Oxford and then to Bath to take advantage of the portrait skill of his son. At the age of 17 Lawrence began to paint in oil, all his previous work having been in pastel. In 1787 the family moved to London, and by 1789 he was challenging Reynolds. When Reynolds died in 1792, Lawrence was appointed to the lucrative post of painter in ordinary to the king. He soon became the foremost portrait painter in England, a position he maintained until his death. His portraits of women are models of beauty and elegance, whether the sitter be a tragic actress like Mrs. Siddons, a social figure like the Princess de Lieven, or a personal friend. At the close of the Napoleonic Wars, Lawrence was knighted and commissioned to paint the leading sovereigns and statesmen of Europe. When he returned to England in 1820, he was elected president of the Royal Academy; he handled the affairs of his office with tact and urbanity. He died on Jan. 7, 1830. Following the English masters of the 18th century, Reynolds, Thomas Gainsborough, and George Romney, Lawrence carried on the great tradition of society portraiture and raised it to new heights of dash and elegance, though not of psychological penetration. He was by no means an artist of the astonishing insight of Gainsborough, and he did not have the occasionally disconcerting originality of Reynolds. Lawrence had their faults: all were affected by the distorting demands of their fashionable clientele, and all succumbed to them. He had the least to say, and he reflected his sitters' own best views of themselves, yet even they must sometimes have been surprised at their own magnificence. Handsome his portraits undoubtedly are; all the women are strikingly beautiful, the men brave and distinguished. Lawrence enjoyed his great success. He lived for his work, never married, and was a prodigious worker. He was of an exceptionally generous nature, as an artist and as a man, with a rare talent for appreciating and encouraging the talents of others. He was an ardent collector of Old Master drawings; his collection, which was dispersed after his death,
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),
Richard Wilson
1713-1782 British Richard Wilson Galleries