Related Paintings of unknow artist :. | Sheep and Sheepherder | Portrait of Sir John Chardin | Still life floral, all kinds of reality flowers oil painting 240 | Four avbildningar of Vicotory Kopparsticket assimilate pa page am failing of Oljemalningen wonder of ocb akvarellen to hoger of N.Pocock | Self-portrait |
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VINCKBOONS, David
Flemish Baroque Era Painter, 1576-ca.1632 was a Dutch painter of Flemish origin. Vinckboons was one of the most prolific and popular painters and print designers in the Netherlands. Himself influenced by Pieter Bruegel the Elder, he was instrumental ?? together with Hans Bol and Roelant Savery ?? in the development of genre painting in the northern Netherlands. The family moved to Antwerp around 1580, and then to Middelburg after the Spanish occupation of Antwerp in 1585. It is not likely they moved for religious reasons to Amsterdam. His father became a citizen in 1591, but none of his grandchildren were baptized in a Calvinist church. In 1602 David married in Leeuwarden to Agneta van Loon, the daughter of a notary. Then he lived in Sint Antoniesbreestraat like many other artists and painters. According to Karel van Mander he did not have any teacher other than his father Phillipe, a painter on canvas with watercolors, an art form practised mainly in his birthplace of Mechelen. David specialized in elegant figures in park-like landscapes (Outdoor Merry Company, 1610; Vienna, Akademie der Bildenden K??nste) as well as Kermis and other village festivals. His landscapes reflect his contact with Gillis van Coninxloo. Vinckboons attracted a number of students; among them were Gillis d'Hondecoeter, Claes Janszoon Visscher and probably Esaias van de Velde. Vingboons, as his name is often spelled,
Jean Joseph Vaudechamp
(1790 - 1866) was a French painter born in Rambervillers, Vosges. He was a pupil of Anne-Louis Girodet de Roussy-Trioson. The market in Paris was competitive, so in the winter of 1831 - 32, he went to try his fortunes in New Orleans, Louisiana. The Louisiana Creole people identified with French culture and selected Vaudechamp to paint portraits for them. Over the next ten years he spent winters in New Orleans, and was a leading portrait painter in the region. He died at Neuilly-sur-Seine in 1866.
VAFFLARD, Pierre-Auguste
French painter b. 1777, Paris, d. 1837, Paris,French painter. A pupil of Jean-Baptiste Regnault, he exhibited regularly in the Salon between 1800 and 1831. He executed a number of unremarkable academic works on Classical subjects, for example Electra (1804; exh. Salon 1814) and Orestes Sleeping (1819; both Dijon, Mus. B.-A.). Vafflard gained more success with his Troubadour pictures, which he began to paint in the early 19th century, at the outset of this fashion. They are remarkable for their absence of colour, their theatrical quality and contrasted lighting effects. One of his earliest Troubadour scenes was Emma and Eginhard (exh. Salon 1804; Evreux, Mus. Evreux), based on an episode in the history of Charlemagne's court and painted at a time when the Holy Roman Empire was in fashion in official French circles. In this sentimental painting Vafflard demonstrated his historicizing intentions by emphasizing medieval costume and Gothic architecture and seeking to create an atmosphere similar to the romans de la chevalerie, so highly thought of in France at the end of the 18th century. In the same Salon he exhibited a strange and novel painting, Young Holding his Dead Daughter in his Arms (Angouleme, Mus. Mun.), taken from Edward Young's Night Thoughts (pubd in French in 1769-70).