Related Paintings of unknow artist :. | Ritratto di Maria Margherita di Savoia all'eta di sei anni | Ulrika Eleonora sorjande sina four doda son | Sexy body, female nudes, classical nudes 30 | Detail of an allegorical painting of the Duchess of Savoy with her son the future Vittorio Amedeo II | Book of Hours |
Related Artists:
Beardsley Limner
American Colonial Era Painter, active 1785-1805
Philippe Mercier
(also known as Philip Mercier) (Berlin, 1689 - London, 18 July 1760) was a French painter and etcher, who lived principally and was active in England. He was born in Berlin of French extraction, the son of a Huguenot tapestry-worker. He studied painting at the Akademie der Wissenschaften of Berlin[1] and later under Antoine Pesne, who had arrived in Berlin in 1710. Later, he traveled in Italy and France before arriving in Londone"recommended by the Court at Hannover"eprobably in 1716. He married in London in 1719 and lived in Leicester Fields. He was appointed principal painter and librarian to the Prince and Princess of Wales at their independent establishment in Leicester Fields, and while he was in favor he painted various portraits of the Royalties, and no doubt many of the nobility and gentry. Of the Royal portraits, those of the Prince of Wales and of his three sisters, painted in 1728, were all engraved in mezzotint by Jean Pierre Simon, and that of the three elder children of the Prince of Wales by the John Faber Junior in 1744. This last was a typical piece of Mercier's composition, the children being made the subject of a spirited, if somewhat childish, allegory in their game of play. Prince George is represented with a firelock on his shoulder, teaching a dog his drill, while his little brother and sister are equally occupied in a scene that is aptly used to point a patriotic
Joseph Denis Odevaere
1778-1830,Flemish painter. He attended evening classes at the Bruges Academie in 1794-5 and then went to Paris, where he entered the studio of the Bruges artist Joseph-Benoet Suvee. In 1801 he began training under Jacques-Louis David and in 1804 won the Prix de Rome for his Death of Phocion (Paris, Ecole N. Sup. B.-A.), in which he faithfully adhered to the principles of David's teaching. Before going to Italy he spent a year in Bruges carrying out portrait commissions, including the Marquis de Chauvelin (1805; Bruges, Groeningemus.). During his time in Rome (1805-12) he copied antique and Renaissance works, taking a particular interest in Raphael, who features in his wash drawing the Master of Urbino Introduced by Bramante to Julius II (1807; Bruges, Groeningemus.), a study for a lost painting. Around 1811 he was among the artists chosen to decorate the Palazzo del Quirinale for Napoleon's visit, although he never executed more than a sketch, Tanaquil Predicting the Future Greatness of Servius Tullius (c. 1811-12; Dijon, Mus. Magnin). Odevaere successfully exhibited in Paris in 1812 and then moved to Ghent, showing works at the Salon there two years later. After the union of the Low Countries in 1815 he became official painter to William I. As a result of this post he executed several works illustrating the history of the Dutch royal family, including the Prince of Orange Wounded at Waterloo (1817) and the Battle of Nieuwpoort (1820; both Brussels, Pal. Nation, on dep. Brussels, Pal. Justice). In 1815 he was commissioned to recover works of art taken from the Low Countries by the French. David's arrival in Brussels in 1816 coincided with the beginning of Odevaere's most ambitious composition, the Departure of the Athenians for Salamis (1816-25; Brussels, Mus. A. Anc.), inspired as much by Jean-Auguste-Dominique Ingres as by David, although the latter frequently advised Odevaere on the painting. From 1825 to 1829 he worked on a series of paintings conveying his support of the philhellenic committees created during the Greek War of Independence.