|
|
|
|
|
|
|
|
 |
Richard Paton
|
|
was a British marine painter.
Paton spent his artistic career in London, where he is said to have been born, although no record of his birthplace or parentage is known. He is said to have grown up in poverty, and he is described as "self-taught". Some critics have discerned an influence of Samuel Scott's works, and also of Charles Brooking. Any such influence is hardly evident.
According to an account by Harry Parker, in "The Mariner's Mirror", March 1912, p 85, while Paton was begging "on Tower Hill, he attracted the attention of Admiral Sir Charles Knowles (died 1777), who happened to be passing that way, and who, taking a fancy to the boy, offered to take him to sea". He was assistant to the shipes painter on Knowles' ship, gaining knowledge in both painting and seamanship. In 1742, he started working at the Excise Office.
His first exhibition was in 1758 on the premises of the London-based Society of Artists, where he continued to exhibit up to 1770. The Royal Academy hosted his works between 1762 and 1780.
Paton's specialities were marine and naval paintings. He painted naval actions of wars ongoing at the time of painting such as the Seven Years War of 1756-1763 and later The American Revolutionary War, as well as earlier events such as the battles of the War of the Quadruple Alliance which took place when he was a baby. The paintings include many dramatic effects such as battles at night, the shooting of cannons and the effect of bombardments. There are, however, also less militant themes such as ships becalmed. His "sublime depiction of the sky" was considered especially noteworthy. Prints of his works, made among others by Pierre-Charles Canot, made them widely known.
|
|
|
|
|
|
|
|
|
|
|
|
 |
Rubens Peale
|
|
Rubens Peale (May 4, 1784 - July 17, 1865) was an American artist and museum director. Born in Philadelphia, he was a son of artist-naturalist, Charles Willson Peale.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
samuel pepys
|
|
Born: 23 February 1633
Birthplace: London, England
Died: 16 May 1703
Best Known As: Author of Samuel Pepys' diaries
|
|
|
|
|
|
|
|
 |
Santo Peranda
|
|
(1566-1638) was an Italian painter of the late-Renaissance period.
He was a pupil of the painter Leonardo Corona and later Palma il Giovane. Also known as Santa Peranda. He painted a Descent from the cross for San Procolo in Venice. He painted The defeat of the Saracens for the Ducal Palace of Modena. He painted the Gathering of the Manna for the church of the San Bartolome. In 1623 he finished Glorious Mysteries for the church of San Nicole in Treviso. Among his pupils were Francesco Maffei, Matteo Ponzone, and Filippo Zaniberti.
|
|
 |
Sarah Miriam Peale
|
|
(Philadelphia, Pennsylvania, May 19, 1800 - February 4, 1885, Philadelphia) was an American portrait painter, one of the notable family of artists descended from the miniaturist and still-life painter James Peale, who was her father. She is noted as a portrait painter, mainly of politicians and military figures. Lafayette sat for her four times.
Sarah was James Peale's youngest daughter and was trained by her father, and uncle Charles Willson Peale. She served as a studio assistant to her father. Her first public works date from 1816 with subjects such as flowers and still-life but soon turned to portraiture, In 1818, she spent three months with Rembrandt Peale, her cousin, in Baltimore, and again in 1820 and 1822. He influenced her painting style and subject matter. For 25 years, she painted in Baltimore (1822-47) and, intermittently, in Washington, D.C.
She was accepted to the Pennsylvania Academy of Fine Arts in 1824 along with her sister Anna Claypoole Peale, the first women to achieve this distinction. Over 100 commissioned portrait paintings are known from her time in Baltimore and she was the most prolific artist in the city during that era. Her subjects were wealthy Baltimore residents and politicians from Washington DC. |
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Simon Pietersz Verelst
|
|
(1644, The Hague - 1710, London), was a Dutch Golden Age painter.
According to the RKD he was the son of Pieter Harmensz Verelst and became a pupil in the Confrerie Pictura at the same time as his brother Herman in 1663. In 1668 he moved to London and called himself "the God of Flowers", but is known for portraits as well as flower and fruit still life paintings. |
|
|
|
 |
Simone Peterzano
|
|
(c. 1540 - c. 1596) was an Italian painter of the later Mannerism, native of Bergamo. He is mostly known as the master of Caravaggio.
He was a pupil of Titian in Venice, Peterzano debuted in Milan with the counterfaçade frescoes in San Maurizio al Monastero Maggiore (1573), influenced by Veronese and Tintoretto. In the same year he painted two canvasses with Histories of Sts. Paul and Barnabas for the church of San Barnaba, also in Milan. Also from the same period are a Piete in the church of San Fedele and a Pentecost for San Paolo Converso (now in Sant'Eufemia).
Between 1578 and 1582 Peterzano executed frescoes in the presbytery of Garegnano Charterhouse, considered one of his masterworks. His last works, characterized by a cold monumental style, include a fresco with Stories of St. Anthony of Padua for the church of Sant'Angelo, a canvas with Madonna with Child and Saints for the parish church of Bioggio (Canton Ticino) and an altarpiece with St. Ambrose between Sts. Gervasius and Protasius in the Duomo of Milan (1592, now in the Pinacoteca Ambrosiana).
|
|
 |
Simone Pignoni
|
|
Simone Pignoni (April 17, 1611 - December 16, 1698) was an Italian painter of the Baroque period.
He apprenticed with Fabrizio Boschi, then with the more academic and puritanical Domenico Passignano, and finally with Francesco Furini. He is best known for painting in a style reminiscent of the morbidly sensual Furini. Reflective of this obsession is his self-portrait, c. 1650, in which he depicts himself building up a plump naked female from a skeleton. The biographer Baldinucci, in what little he notes of the painter, recalls him as the scandalous imitator of (Furini's) licentious inventions.
A more complete biography was recorded by his pupil Giovanni Camillo Sagrestani. Described as endowed with a bizarre and amenable intelligence, Pignoni apparently had a late-life conversion to more pious painting. There is one episode recalled that during a serious illness because in his life he had focused on studying about female forms, and (now) having resigned himself to the impending infinity, his spiritual father urged him to purge those errors with the flame, and once guided by a good disposition, he suddenly was cured by the Lord. It must be noted that Baldinucci's biography of Furini, also recorded a similar, near-death renunciation of his art of the naked figure.
Among his more conventional works are a St. Agatha cured by St. Peter (attributed) in the Museo Civico di Trieste. A St. Louis providing a banquet for the poor (c. 1682) now in the church of Santa Felicita in Florence, commissioned by Conte Luigi Gucciardini. A Madonna and child in glory with archangels Saints Michael and Raphael in battle armor and San Antonio of Padua (1671) for the Cappella di San Michele in Santissima Annunziata. He painted an Allegory of Peace in Palazzo Vecchio. A Penitent Magdalen has been attributed to Pignoni is found in the Pitti Palace. In San Bartolomeo in Monteoliveto, he painted a Madonna appearing to Blessed Bernardo Tolomeo.
|
|
|
|
|
|
|
|
|
|
 |
Sir Peter Lely
|
|
1618-1680
Dutch (Resident In UK)
Sir Peter Lely Art Locations |
|
 |
Soma Orlai Petrich
|
|
(October 22, 1822, Mezőbereny - June 5, 1880, Budapest) was a Hungarian painter. Petrich was born to a Serbian father and Hungarian mother.
He originally wanted to become a writer. He was a pupil of Jakab Marastoni in 1846 and attended Ferdinand Georg Waldmeller's school in Vienna from 1847. He often painted historical themese and in his lithographs he portrayed experiences during the war of independence. He studied from Kaulbach in Munich from 1850. He painted "The Corpse of Louis II" in 1851, a decade before Bertalan Szekely's painting. He was also a popular portraitist.
|
|
|
|
|
|
 |
Stephen Pearce
|
|
(London, 1819-904) was a portrait and equestrian painter. Forty-four portraits which he painted are in the National Portrait Gallery in London, which also contains two self-portraits.
|
|
|
|
|
|
|
|
|
|
|
|
 |
Thomas Phillips
|
|
(18 October 1770 - 20 April 1845) was a leading English portrait and subject painter. He painted many of the great men of the day including scientists, artists, writers, poets and explorers.
Phillips was born at Dudley then in Worcestershire. Having acquired the art of glass-painting in Birmingham under Francis Eginton,[1] he visited London in 1790 with an introduction to Benjamin West, who found him employment on the painted-glass windows of St George's Chapel at Windsor. In 1791, he became a student of the Royal Academy, and exhibited there, in 1792, a view of Windsor Castle, followed in the next two years by the "Death of Talbot, Earl of Shrewsbury, at the Battle of Castillon," "Ruth and Naomi," "Elijah restoring the Widow's Son," "Cupid disarmed by Euphrosyne," and other pictures.
After 1796, he mainly confined himself to portrait-painting. However, the field was very crowded with the likes of John Hoppner, William Owen, Thomas Lawrence and Martin Archer Shee competing for business; consequently, from 1796 to 1800, his exhibited works were chiefly portraits of gentlemen and ladies, often nameless in the catalogue and of no great importance historically-speaking.
|
|
 |
Thomas Pollock Anshutz
|
|
(1851-1912) was an American painter and teacher.
He studied art at the National Academy of Design in New York City, and moved to Philadelphia in 1875 to study under Thomas Eakins at the Philadelphia Sketch Club. He entered the Pennsylvania Academy of the Fine Arts in 1876, becoming Eakins's assistant there in 1878, and his successor in 1886. He later studied in Paris at the Academie Julian, 1892-93 |
|
|
|
|
|
|
