Portraitist 18th century
Antonio Capellan was an Italian engraver, active in a Neoclassical style. He trained with Joseph Wagner. Capellan is best known for making engraved copies of masterworks of the Italian Renaissance found in private collections, which were published in Gavin Hamilton's work, Schola Italica Picturae. He also engraved a series of portraits of cardinals titled "Calcographia R.C.A. apud Pedem Marmoreum". In 1759, he engraved portraits of Michelangelo and Giorgio Vasari for a volume of the life of Vasari, curated by Bottari.
Balthasar Augustin Albrecht was a German painter of the first half of the 18th century. He is known as a painter who worked in portrait, historical and religious genres.
Albrecht began his career in 1719. He was appointed court painter at the court of the Elector of Bavaria and inspector-custodian of the Picture Gallery in Munich. In addition to portraits and paintings, he created frescoes and altarpieces in churches in Munich and other German cities.
Jacopo Amigoni, also named Giacomo Amiconi, was an Italian painter of the late-Baroque or Rococo period, who began his career in Venice, but traveled and was prolific throughout Europe, where his sumptuous portraits were much in demand.
Antonio Amorosi was an Italian painter of the late Baroque period.
Amorosi studied in Rome in the studio of Giuseppe Ghezzi. He produced portraits and religious works, but he is best known for his genre paintings of bambocanti. The artist has a keen eye for the everyday lives of ordinary people, particularly children, whose world he depicts in a gentle and delicate manner. Among Amorosi's most characteristic and best works are "Boy with a Glass" and "Boy with a Dog", preserved in the Pinacoteca Comunale in Deruta.
Alexei Petrovich Antropov (Russian: Алексей Петрович Антропов), a prominent Russian painter of the Baroque period, is celebrated for his significant contributions to art, particularly in portrait painting and church frescoing. Born into a family connected to the governmental sphere, Antropov's early exposure to the arts came through his work in the Chancellory of Buildings, where he began his career under the guidance of various Russian and foreign artists, including Andrey Matveyev and Ivan Vishnyakov.
Antropov's work is distinguished by his mastery in oil painting, miniatures, and icons, with a career that saw him active mainly in St. Petersburg, Moscow, and Kiev. His artistic journey was notably influenced by his studies with the French court painter Louis Caravaque and later with the Italian painter Pietro Rotari, which helped him refine his portrait artistry. The 1760s emerged as his most productive period, where he crafted numerous notable portraits, including those of Elizabeth Petrovna and Peter III of Russia, showcasing his preference for traditional icon and parsuna portrait styles characterized by sharp contrasts and dark backgrounds.
Antropov's legacy extends beyond his artworks; his dedication to art education and the community is evident in his decision to transfer his only house to the Department of Education for the establishment of a Free School. He passed away in 1795, leaving behind a rich collection of works that continue to be celebrated in museums such as the Tretyakov Gallery in Moscow and the Russian Museum in St. Petersburg.
Collectors and art experts value Antropov for his unique contributions to Russian art, his role in the transition of portrait styles, and his influence on future generations of artists, including his apprentice Dmitry Levitzky. His works, including the portraits of Catherine II and Archbishop Gavriil Petrov, are pivotal in understanding the artistic and cultural shifts of 18th-century Russia.
For those interested in exploring the depths of Russian Baroque art and the significant figures who shaped its contours, Alexei Petrovich Antropov's oeuvre offers a fascinating journey. Collectors and aficionados are encouraged to sign up for updates on new product sales and auction events related to Antropov's works, ensuring they remain informed about opportunities to own a piece of this illustrious artist's legacy. This subscription is a gateway to the vibrant world of art collection, where the beauty of the past is preserved for the future.
Francesco Faraone Aquila was an Italian engraver. In 1690 he moved to Rome where his brother Pietro had been an engraver for several decades in major workshops in the capital. Pope Clement XI gave him an order which has remained his main work - engraving the bas-reliefs of the Antoninus Pius column and its pedestal. Another important work by Francesco Aquila is the engraving of the frescoes of the dome of the Cathedral of Parma by Correggio and the painting of the Vatican chambers. Following the antique taste established in the 18th century, Aquila engraved various Roman classical works: statues, vases and triumphal arches, thus satisfying the demand of mainly foreign visitors, mainly German and English. His portraits of his contemporaries, both painters and clergymen, also enjoyed great popularity.
Nikolai Ivanovich Argunov (Russian: Николай Иванович Аргунов) was a Russian painter of the late 18th - the first third of the 19th centuries. He is known as a painter, graphic artist, miniaturist, representative of Russian classicism.
Nikolai Argunov is considered one of the greatest portrait painters of his time. His works are notable for their diversity, psychologism, objective approach to nature, devoid of classicist idealization and romantic heroization of the models.
The artist was a serf, was granted his freedom after the death of his master and became an academician of the Imperial Academy of Arts in St. Petersburg. He was a member of a dynasty of artists, the beginning of which began with his father Ivan Argunov.
Ivan Petrovich Argunov (Russian: Иван Петрович Аргунов) was a distinguished Russian painter of the 18th century, celebrated for his significant contribution to portrait art. As a serf born into the Argunov family, who were established artists themselves, Ivan's talent was nurtured and supported by his patrons, leading to a unique position within the cultural and artistic hierarchies of his time. His specialization in portraiture allowed him to capture the essence of Russia's social elites, including members of the imperial family, as well as ordinary Russians, thereby providing a wide-ranging visual documentation of the era's societal strata.
Argunov's art is noted for its meticulous attention to detail, vibrant realism, and the emotional depth he brought to his subjects. His portraits are more than mere representations; they are intimate glimpses into the lives and characters of his sitters. Among his most famous works is the portrait of Princess Natalia Petrovna Golitsyna, showcased in the Tretyakov Gallery in Moscow. This particular piece stands out for its intricate portrayal of fabric textures and the detailed rendering of facial expressions, which have been lauded for their lifelike quality and depth.
Argunov's legacy extends beyond his artistic achievements; he played a pivotal role in shaping the course of Russian portraiture. His works are preserved in major museums and galleries across Russia, serving as a testament to his skill and the cultural richness of his time. For collectors and experts in art and antiques, Argunov's paintings are not just historical artifacts but are cherished for their aesthetic value and the insight they offer into 18th-century Russian culture.
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Carl Daniel David Friedrich Bach was a German artist of the late eighteenth and early nineteenth centuries, the Baroque period. He is known as a painter, graphic artist and printmaker.
Bach worked in the historical genre, was a portraitist, animalist, created canvases on allegorical subjects in the spirit of his era. In his works he combined elements of baroque and classicism. The artist often worked in the etching needle technique.
Elias Baeck called "Heldenmuth", was a German painter and engraver from Augsburg. Baeck worked for some time in Rome, then in Laybach, but finally returned to Augsburg, where he died in 1747. His chief works — both in painting and engraving — were portraits and landscapes. His engravings are sometimes signed "E.B.a.H.", standing for "Elias Baeck, alias Heldenmuth".
Ludolf Bakhuizen was a Dutch painter of the 17th and early 18th centuries. He is known as an outstanding master of seascapes. Bakhuizen also painted biblical themes and portraits of his contemporaries as well as engravings and miniature models of ships.
Ludolf Bakhuizen is considered one of the best marine painters of the Golden Age of Dutch painting. Among the admirers of his work were many influential European rulers, including the Russian Tsar Peter the Great. The master met Peter I, who visited Amsterdam in the mid-1690s and, according to contemporaries, even managed to give some painting lessons to the Russian tsar. In addition, Вakhuizen made models of all kinds of ship designs on commission from Peter the Great.
Toward the end of his life, the Amsterdam authorities honored Bakhuizen by opening his own gallery on the top floor of the City Hall for his achievements in the fine arts. The best masterpieces of his work are now preserved in museums in the Netherlands, Germany, England, France, and Italy.
Jean Barbault was a French painter, etcher and printmaker, who worked in Rome for most of his life. He is noted for paintings of local people, wearing traditional costumes or Oriental costumes and for his work documenting iconic Roman monuments and antiquities which were published in two volumes.
George Barret the Younger was a British painter, master watercolorist and landscape painter.
He was the son of the Irish painter George Barret the Elder (1730-1784) and learned painting from his father. He exhibited at the Royal Academy from 1800 and was one of the first and active members of the Society of Watercolor Painters, which was formed with his own encouragement in 1804. His early works were mainly topographical landscapes in a style similar to his father's watercolors. Later he switched to more romantic compositions with imaginary landscapes.
In 1840, George Barret published The Theory and Practice of Watercolor Painting.
Diana Beauclerk, born Diana Spencer, was an English painter.
Diana Beauclerk was highly gifted, painting portraits, illustrating plays and books, creating designs for Wedgwood's pioneering ceramics and decorating rooms with frescoes.
Louis-Marin Bonnet (French: Louis-Marin Bonnet) is a French draftsman and engraver, an outstanding master of metal engraving using the “pencil style” technique. Since 1757, Louis-Marais Bonnet was a student of Jean-Charles Francois, then of Gilles Demarteau. He became famous for his color engravings reproducing drawings by A. Watteau, F. Boucher, Sh.-A. Van Loo, J.-B. Yue. Bonnet reproduced mainly complex pastel drawings, using up to eighty boards per engraving. He used opaque paints that gave a matte tone and tinted paper. He reproduced the spaces by printing with white from a separate board. Bonnet even imitated the golden frames bordering the original drawings. This technique is called “pastel style”. In 1769, Bonnet described his technique in detail in the book Pastel in Engraving, Invented and Executed by Louis Bonnet. In 1765-1767, the French master worked in St. Petersburg, where he completed several engraving portraits in the “pencil style” of Catherine II and the heir Pavel Petrovich based on drawings by Jean-Louis de Velli, then returned to Paris and opened his own workshop.
Matteo Bottiglieri was an Italian sculptor and painter from Naples. One of his first works is a marble "Dead Christ" (1724), in the crypt of the Capua Cathedral, perhaps executed after drawings by Francesco Solimena. In 1733 he executed three works for the Church of the Crucifix in Salerno, and in the same year he took part in the decoration of San Giuseppe dei Ruffi in Naples. He also executed numerous drawings portraying shepherds, later used as models for figures in Nativity scenes. Also attributed to him is a group of "Christ and the Samaritan" in the cloister of San Gregorio Armeno, as well as the sepulchre of Alessandro Vicentini in the right transept of the church of San Domenico Maggiore.
John Brewster was a prolific, Deaf itinerant painter who produced many charming portraits of well-off New England families, especially their children. He lived much of the latter half of his life in Buxton, Maine, USA, recording the faces of much of Maine's elite society of his time.
According to the website of the Fenimore Art Museum in Cooperstown, New York, "Brewster was not an artist who incidentally was Deaf but rather a Deaf artist, one in a long tradition that owes many of its features and achievements to the fact that Deaf people are, as scholars have noted, visual people."
Daniel Caffé was a distinguished German pastel painter of portraits. Known for his meticulous craftsmanship and the emotive depth of his portraiture, Caffé initially embarked on a career in architectural decoration before his talents led him to Dresden to become a portrait artist.
Daniel Caffé's journey into the world of fine arts was marked by his study at the Dresden Academy of Fine Arts under the guidance of significant figures like Casanova and the influence of neoclassical artist Anton Raphael Mengs. His mastery of pastel made him a favored portraitist among the nobility and notable figures of his time, including Russian patrons like Prince Beloselski and Admiral Fyodor Grigoryevich Orloff.
His works, celebrated for their detailed and expressive nature, capture the essence of his subjects with striking realism and emotional depth. Among his notable works are portraits of prominent individuals such as Johann George Tromlitz and Karl August von Hardenberg, which not only exemplify his skill but also his contribution to the documentation of his era's influential figures.
Daniel Caffé's legacy as a pastel painter is preserved in various art collections and continues to be admired for its historical significance and artistic merit. He passed away on January 16, 1815, in Leipzig, leaving behind a body of work that continues to be studied and revered in the art community.
For collectors and experts in art and antiques, Daniel Caffé's portraits offer a glimpse into the refined pastel techniques and cultural narratives of the late 18th to early 19th century. His works remain a significant part of German art history, celebrated for their contribution to the development of portrait painting.
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Jean-Jacques Caffieri was an 18th-century French sculptor. He is known as a brilliant representative of academism. Caffieri was famous for his marble images of figures of science and culture, sculptures on biblical and mythological themes. In particular, he made a series of busts and sculptures of artists, composers and playwrights for the Comédie Française theater.
Jean-Jacques Caffieri was the most famous, but by no means the only representative of the family dynasty of hereditary artists - the largest in France. In addition to him, his grandfather Philippe Caffieri, his father Jacques Caffieri, as well as his uncle and three brothers made significant contributions to French art.
Caffieri was made an honorary member of the Royal Academy of Arts, was appointed to the prestigious post of court sculptor to King Louis XV, became a professor at the Royal Academy of Arts and held that position for almost 20 years. His works today adorn the collections of major French museums.
Louis Caravaque was a French portrait painter renowned for his contributions to Russian art during the early 18th century. Born in 1684 in Marseilles, France, Caravaque embarked on his artistic journey influenced by his family's background in decorative painting. His talent soon caught the attention of influential figures, leading to a pivotal contract in 1715 that took him to Russia. There, he famously painted Peter the Great and became a favored artist at the Russian court.
Caravaque's work is distinguished by his detailed and expressive portraiture, which earned him the position of the first court painter during Anna Ioannovna's reign. He played a significant role in the cultural exchanges between France and Russia, melding Western European techniques with Russian traditions. His notable works, which include portraits of Russian royalty and nobility, are held in prestigious collections such as the Hermitage and the Russian Museum in St. Petersburg.
Among his most celebrated paintings are the portraits of Peter the Great, Empress Elizabeth as an Olympic goddess, and Catherine II, showcasing his skill in capturing the grandeur and intricacy of his subjects. These artworks not only highlight his mastery of oil painting but also reflect the rich historical and cultural milieu of his time.
For collectors and art experts, the legacy of Louis Caravaque offers a fascinating glimpse into the intersection of French artistic influence and Russian imperial identity. His works remain a testament to his skill and the cultural bridge he helped forge between two distinct worlds.
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George Chinnery was a British painter best known for his work in India and China.
George studied at the Royal Academy schools, painting portraits and sketches, but in 1802, shortly after his marriage, trying to straighten out his family's financial situation, he traveled to India. In Calcutta, Chinnery became the leading artist of the British community in India. And in 1825 he went to China and lived in Macau for the rest of his life.
Chinnery painted portraits of Chinese and Western merchants, visiting sea captains and their families. Chinnery also painted landscapes (both in oil and watercolor) and made many vivid drawings of Macau residents of the time engaged in their daily activities. Among the heroes of his portraits are the Scottish opium merchants who patronized him. In addition to their artistic value, Chinnery's paintings also have historical value, as he was the only Western artist living in South China during the early to mid-19th century.
There are still many architectural sites in Macau recognizable from his sketches that have changed little since then. Today, Chinnery's paintings are in public and private collections around the world. The Macau Museum and the Macau Art Museum have a good selection of his work.
Carl Ludwig Johann Christineck was a Russian portrait painter of German origin whose works are exhibited in important art museums.
Throughout his life, Christineck worked as a portrait painter in Saint Petersburg, where he received his artistic training and where he achieved fame. One of his teachers was Lucas Conrad Pfandzelt, a German painter, copyist, restorer, collector and dealer.
Hermannus Collenius was a Dutch Baroque painter.
The portraits of Hermannus Collenius were characterised by classical elegance and an emphasis on the facial features and clothing of the portrayed subject. The painter often portrayed his sitters according to the latest fashions, which contributed to the popularity of his portraits among the fashionable elite.
Richard Corbould was an English artist. He was a painter, in oil and watercolour, of portraits, landscape, and occasionally history; of porcelain, and miniatures on ivory, and enamels; and was furthermore an important illustrator of books renowned for his Napoleonic sketches of Ships, and a follower of the old masters. From 1777 to 1811 he was a constant contributor to the Royal Academy.
Michael Dahl was a Swedish portrait painter.
After several years of traveling in France and Italy, he finally settled in London in 1689, where he worked in the studio of Sir Godfrey Kneller. Dahl painted portraits of many aristocrats and some members of royal families. Michael Dahl soon became his teacher's chief rival and gained the patronage of Prince George of Denmark and his wife Princess Anne, whose portraits he also created. His studio practice flourished and he was the most popular portrait painter in London at the time.
Jan de Baen was a Dutch portrait painter who lived during the Dutch Golden Age. He was a pupil of the painter Jacob Adriaensz Backer in Amsterdam from 1645 to 1648. He worked for Charles II of England in his Dutch exile, and from 1660 until his death he lived and worked in The Hague. His portraits were popular in his day, and he painted the most distinguished people of his time.
Aert de Gelder was a Dutch painter. He was the only Dutch artist to paint in the tradition of Rembrandt's late style into the 18th century.
As author of biblical scenes and portraits his style was inspired by Rembrandt's, using his artistic ideas, well into the 18th century, without being influenced by contemporary new fashions. From the artistic point of view his work can not be considered as passive imitation of the master; indeed, it stands for inventiveness in the narrative, taste for the theatrical and a strong emotional charge of the characters. All these traits made him one of the most important interpreters of Dutch painting of the late seventeenth century.
Bernardo Germán de Llórente was a Spanish painter of the late-Baroque period. He was active in Seville where he was one of the followers of Murillo and made a name with his devotional paintings of the Virgin Mary. He also painted portraits and still lifes with trompe-l'œil effects.
Jean-François de Troy was a French Rococo easel and fresco painter, draughtsman and tapestry designer. One of France's leading history painters in his time, he was equally successful with his decorative paintings, genre scenes and portraits. He was the inventor of the tableaux de modes ('paintings of fashions'), which attempted to provide a spirited portrayal of contemporary fashions, pastimes and manners.
He was the Director of the French Academy in Rome from 1738.
Arthur William Devis was an English painter of history paintings and portraits. He painted portraits and historical subjects, sixty-five of which he exhibited (1779–1821) at the Royal Academy. Among his more famous works are a depiction of the Death of Nelson and a posthumous portrait of Nelson.
Pyotr Semyonovich Drozhdin (Russian: Пётр Семёнович Дрождин) was a Russian artist, renowned for his unique contributions to painting and sculpture. His work, characterized by its emotional depth and striking realism, has captivated art enthusiasts and collectors worldwide.
Drozhdin's art is a blend of classical Russian techniques with modernist twists, making each piece distinctly timeless yet contemporary. His paintings often depicted rural Russian life and landscapes, imbuing them with a sense of nostalgia and profound beauty. Meanwhile, his sculptures are noted for their intricate detailing and the ability to capture the human spirit.
His works are displayed in various prestigious galleries and museums, not only in Russia but around the globe. They continue to attract admiration for their craftsmanship and artistic integrity.
For those keen on exploring more about Pyotr Semyonovich Drozhdin or adding a piece of his legacy to their collections, staying updated on exhibitions and auction events is essential. Sign up for updates on sales and exhibitions featuring Drozhdin's works to ensure you never miss an opportunity to own a piece of Russian art history.
Vigilius Eriksen was a Danish portrait painter, celebrated for his deft representation of royalty during the 18th century. Born in Copenhagen on September 2, 1722, Eriksen gained early acclaim but faced setbacks such as being denied entry to the Royal Danish Academy of Fine Arts despite winning a gold medal there in 1755. His fortune changed when he moved to Russia, becoming a court painter to Empress Catherine the Great. This period marked his most prolific phase, where he created iconic portraits that were not only artistic accomplishments but also potent symbols of Catherine’s authority and persona.
Eriksen’s works, like the grandiose portrait of Catherine II, showcased his skill in integrating elements of power and status, a testament to his subject's dominion and the high baroque style he employed. This painting, noted for its detailed depiction of regal attire and insignia, is held in high regard not just for its artistry but also for the insights it offers into the royal iconography of the time.
After his successful stint in Russia, Eriksen returned to Denmark, where he continued to work extensively for the royal family, leaving behind a legacy that includes works housed in major Danish collections such as Rosenborg Castle.
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Charles Balthazar Julien Févret de Saint-Memin was a distinguished French portrait artist, celebrated for his intricate and lifelike chalk drawings and engravings. Born in Dijon, France, in 1770, he found refuge in the United States during the tumultuous years of the French Revolution. Between 1798 and 1814, Saint-Memin created over a thousand portraits of notable American figures, utilizing a unique physiognotrace device to capture the essence of his subjects with remarkable accuracy.
After returning to France in 1814, he became the director of the Musée des Beaux-Arts de Dijon, where he served until his death in 1852. His works, which include profiles of figures such as Thomas Jefferson and Meriwether Lewis, provide a fascinating glimpse into the faces that shaped early American history and are preserved in institutions like the Smithsonian and the Library of Congress.
For collectors and art history enthusiasts, Saint-Memin's oeuvre offers a unique perspective on American portraiture and the artistic exchange between France and the United States during a pivotal era. His contributions to art continue to be studied and appreciated for their historical value and artistic merit.
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Antonio Franchi was an Italian painter of the 17th century, active mainly in Florence and Lucca. In 1683 he was admitted to the Accademia dell'Arte del Disegno. He died in Florence. His paintings have the porcelain crispness of design, characteristic of Carlo Dolci; and some the sensuality of a Francesco Furini.
Johann Jakob Frey the Elder was a Swiss engraver.
After learning the principles of design he went, when he was twenty-two years of age, to Rome, where he received some instruction from Arnold van Westerhout, and had afterwards the advantage of studying in the school of Carlo Maratti. His progress was rapid, and he was soon regarded as one of the ablest artists in Rome.
His drawing is correct and tasteful, and he was a perfect master of harmony and effeot. He etched his plates with spirit, and worked over the etching with a firm and masterly hand. His prints, which exceed the number of one hundred, are generally of a very large size.