Dutch Baroque Era Painter, 1613-1675 Dutch painter. The first and most famous member of the group of artists referred to as the LEIDEN 'FINE' PAINTERS, he specialized in small-format paintings, the details and surfaces of which are carefully observed and meticulously rendered. He was greatly praised as a painter of artificial light by Samuel van Hoogstraten in 1678, and he was responsible for popularizing both the night scene and the 'niche' format, pictorial devices ultimately derived from the art of his famous master, Rembrandt.   Related Paintings of DOU, Gerrit :. | Old Woman Reading a Bible dfg | Old Woman Watering Flowers sd | Portrait of a Young Woman | Officer of the Marksman Society in Leiden fg | The Prayer of the Spinner s |
Related Artists:
Cornelis Hendriksz Vroom
(1591, Haarlem - buried September 16, 1661, Haarlem) was a Dutch Golden Age landscape painter. According to the RKD he was the son of the painter Hendrick Cornelisz Vroom, the older brother of Frederick and Jacob, and the father of the painter Jacob Cornelisz Vroom.[1] He became a member of the Haarlem Guild of St. Luke in 1634. According to Houbraken in 1718, who repeated a list of names from Theodorus Schrevelius's 1648 book on Haarlem called Harlemias, he was the son of Hendrick Cornelisz Vroom and a good landscape painter of Haarlem along with "Joh. Jakobsz.", who was in Italy for many years, "Nicol. Zuyker", Gerrit Claesz Bleker, Salomon van Ruysdael, and Reyer van Blommendael.
Lavinia Fontana
Italian Painter, 1552-1614 Daughter of Prospero Fontana. She was trained by her father and followed his Mannerist style. Her first recorded works, which date from 1575, were small paintings for private devotion, such as the Holy Family (Dresden, Gemeldegal.). By 1577 she had become established as a portrait painter in Bologna. Works of this date include the Self-portrait at the Harpsichord (Rome, Gal. Accad. S Luca) and the portrait of Senator Orsini (Bordeaux, Mus. B.-A.). Her portrait style reflects the formality of central Italian models as well as the naturalistic tendencies of the north Italian tradition. The elegantly costumed Orsini is shown seated at a table, with a suite of rooms opening behind him, a setting recalling such Florentine portraits of the 1530s as Agnolo Bronzino's Bartolommeo Panciatichi (Florence, Uffizi). Lavinia used a similar setting for other portraits, including the Gozzadini Family (1584; Bologna, Pin. N.). Female sitters are also shown in elaborate dress, with particular attention paid to details of embroidery and jewels, and they are often accompanied by small dogs
Lorenz strauch
1551-1630