1849-1921 Abbot H Thayer Galleries Abbott Handerson Thayer (August 12, 1849 ?C May 29, 1921) was an American artist, naturalist and teacher. As a painter of portraits, figures, animals and landscapes, he enjoyed a certain prominence during his lifetime, as shown by the fact that his paintings are in the most important U.S. art collections. In the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a major book about protective coloration in nature, titled Concealing Coloration in the Animal Kingdom: An Exposition of the Laws of Disguise Through Color and Pattern; Being a Summary of Abbott H. Thayer??s Disclosures. First published by Macmillan in 1909, then reissued in 1918, it had a widespread impact on the use of military camouflage during World War I. He also influenced American art through his efforts as a teacher, taking on apprentices in his New Hampshire studio.  Related Paintings of Abbot H Thayer :. | Albrecht Durer-s Four Apostles | Fisherman | Meeting of Jacob and Esau | The Virgin Child with a Dove | Portrait of Ivan I. Shishkin |
Related Artists:
Gabriel Metsu
Gabriël Metsu Gabriël Metsu (January 1629 - buried 24 October 1667) was a Dutch painter of history paintings, genre works and portraits. Metsu was the son of the Flemish painter Jacques Metsu (c.1588-1629), who lived most of his days at Leiden, and Jacomijntje Garniers, his third wife, whom he married in 1625. Jacomijntje was the widow of a painter with three children of her own. Two months after Gabriël's birth, his father died. According to Jacobus Houbraken, Metsu was taught by Gerard Dou, though his early works do not lend colour to this assertion. He was influenced by painters of Leiden such as Jan Steen, and later by Frans van Mieris the Elder. Metsu was registered among the first members of the painters' corporation at Leiden; and the books of the guild also tell us that he remained a member in 1649. In Leiden, it was alleged that Metsu left a brothel at six in the morning and took a prostitute to the Academy. In 1650 he ceased to subscribe, and works bearing his name and the date of 1653 support the belief that he had moved. Metsu was trained in Utrecht by Jan Baptist Weenix and Nicolaus Knepfer. In Amsterdam Metsu lived in an alley on Prinsengracht, where he kept chickens. He got into an argument with a neighbor and moved to a house on the canal side, where a daily vegetable market was held. In 1658 he married Isabella de Wolff, whose father was a potter and mother a painter. The Speed Art Museum has a portrait of the couple. Pieter de Grebber, a religious painter from Haarlem, was her uncle. At the onset of the 1660s Metsu turned for inspiration to the art of the "fijnschilders" from his native Leiden. Metsu was responding to the market of Dou's paintings, who sold his paintings all over for exorbitant prices. Metsu may have also influenced Pieter de Hoogh. Around the year 1661, Metsu won the patronage of the Amsterdam cloth merchant Jan J. Hinlopen and painted his family more than once in a fashionable surrounding. The Poultry-Seller, 1662 At least thirteen of paintings show carpets and he probably used the same model. He included several fine examples of minutely depicted floral and cloudband carpets in his works and even a silk Oriental rug, as well as so-called "Lotto" rugs which he for some reason, in contrast to his meticulous rendering of the floral carpets, depicted only in a very sketchy fashion. After Metsu died, his widow left for Enkhuizen, to live with her mother.
Sofonisba Anguisciola
1532?C1625, The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century.
BURGOS, Juan de
Spanish painter