French Rococo Era Painter, 1703-1770
Francois Boucher seems to have been perfectly attuned to his times, a period which had cast off the pomp and circumstance characteristic of the preceding age of Louis XIV and had replaced formality and ritual by intimacy and artificial manners. Boucher was very much bound to the whims of this frivolous society, and he painted primarily what his patrons wanted to see. It appears that their sight was best satisfied by amorous subjects, both mythological and contemporary. The painter was only too happy to supply them, creating the boudoir art for which he is so famous.
Boucher was born in Paris on Sept. 29, 1703, the son of Nicolas Boucher, a decorator who specialized in embroidery design. Recognizing his sons artistic potential, the father placed young Boucher in the studio of François Lemoyne, a decorator-painter who worked in the manner of Giovanni Battista Tiepolo. Though Boucher remained in Lemoynes studio only a short time, he probably derived his love of delicately voluptuous forms and his brilliant color palette from the older masters penchant for mimicking the Venetian decorative painters. Related Paintings of Francois Boucher :. | Le Pecheur galant | Hercules and Omphale | the haberdasher | the marquise de pompadour, | Desian fro a Stage Set |
Related Artists:Willem van de Velde the Elder
(c. 1611 - 13 December 1693) was a Dutch Golden Age seascape painter.
Willem van de Velde, known as the Elder, a marine draughtsman and painter, was born in Leiden, the son of a Flemish skipper, Willem Willemsz. van de Velde, and is commonly said to have been bred to the sea. In 1706 Bainbrigg Buckeridge noted that he eunderstood navigation very welle. He married Judith Adriaensdochter van Leeuwen in Leiden, the Netherlands, in 1631.
His three known legitimate children were named Magdalena, born 1632; Willem, known as the Younger, also a marine painter, born 1633; and Adriaen, a landscape painter, born 1636.
His marriage was stormy, at least in its later years. David Cordingly relates that Willem the Elder fathered two children out of wedlock in 1653, one eby his maidservant, and the other by her friend. Nine years later the Elder and his wife went through a legal separation, eon account of legal disputes and the most violent quarrelse. The immediate cause of the dispute was his affair with a married woman.e Michael S. Robinson noted that eon 17/27 July 1662, he and his wife agreed to part. A condition of the separation was that the Elder could recover from his son Adriaen etwo royal giftse, presumably gifts from Charles II for work done in England.e Cordinglyes account further relates that the dispute was still continuing after another ten years, since ein the autumn of 1672 Judith complained to the womanes husband.e Robinson adds that by 1674 the couple emust have been reconcilede, for at a chance meeting with Pieter Blaeu in Amsterdam in July the Elder explained that he was only visiting for a few days ein order to fetch his wifee. His son, Adriaen, had died in Amsterdam in 1672, and Willem the Elder was also fetching his grandson, similarly named Adriaen, who was then aged two.
After his move to England, the exact date of which is uncertain, but reportedly at the end of 1672 or beginning of 1673, he is said to have lived with his family in East Lane, Greenwich, and to have used the Queenes House, now part of the National Maritime Museum in Greenwich, as a studio. Following the accession of William and Mary as King and Queen of England, it appears that this facility was no longer provided, and by 1691 he was living in Sackville Street, now close to Piccadilly Circus. He died in London, and was buried in St Jameses Church, at the south end of the street.
1775-1860 Italian painter, architect, designer and collector. At the age of 12 he began to frequent the house in Bologna of his patron Conte Carlo Filippo Aldrovandi Marescotti (1763-1823), whose collections and library provided his early artistic education and engendered his taste for collecting. From 1795 he worked on several decorative schemes with the theatre designer and decorator Antonio Basoli (1774-1848), and it was perhaps in theatre designs that Palagi was first exposed to an eclectic range of motifs from exotic cultures. He was influenced by the linear, mannered style of Felice Giani, with whom he frequented the important evening drawing sessions at the house of the engraver Francesco Rosaspina (1762-1841). Beginning in 1802, he participated in the informal Accademia della Pace, Bologna, as well as studying at the Accademia Clementina, and was elected to the Accademia Nazionale di Belle Arti of Bologna in 1803. Soon his draughtsmanship took on a bizarre, brooding style akin to that of Piranesi and such early Romantics as Luigi Sabatelli and Henry Fuseli. During this period he began designing funerary monuments, a type of commission that he continued to receive throughout his life. In 1805 he worked with Giani on the decorations of the Palazzo Aldini, Bologna. Victor Meirelles
Victor Meirelles de Lima (August 18, 1832 -February 22, 1903) was a 19th century painter. He studied art in Paris but painted most of his works in and about his native Brazil. His religious and military paintings helped him become one of the most popular and celebrated Brazilian painters. His The first Mass in Brazil was the first Brazilian painting to be accepted in the Salons of Paris and is one of the most well known paintings in his native country, being reproduced in every book of History for elementary schools.