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But, behold, the hand of him that betrayeth me [is] with me on the table. And truly the Son of man goeth, as it was determined: but woe unto that man by whom he is betrayed! And they began to enquire among themselves, which of them it was that should do this thing. — Luke 22:21-23 KJV |
According to the Rijksmuseum, Adriaen Thomasz Key was a distant relation and his pupil. |
References |
External links |
Media related to Willem Key at Wikimedia Commons |
William Barraud (1810 – 1 October 1850) was an English animal painter and illustrator, the brother of Henry Barraud, with whom he collaborated on many works. |
William was born in Lambeth in London, one of 17 children of William Francis Barraud (1783–1833), a clerk in the Custom House, and Sophia (née) Hull. His paternal grandfather was Paul Philip Barraud an eminent chronometer maker in Cornhill, and his maternal grandfather, Thomas Hull, a miniature painter. The family was ... |
On leaving school he is said to have become a clerk in the Custom House where his father worked (although there are no records of this), but eventually became a pupil of artist Abraham Cooper. As an animal artist he specialised in painting horses and dogs, exhibiting at the Royal Academy from 1829–50, the British Insti... |
William shared a studio, from 1835 until his untimely death, with his brother Henry, and collaborated on many subject pictures with himself painting the animals and Henry the figures. Several of these joint works were exhibited at the Royal Academy. The brothers also produced a book together entitled "Sketches of Figu... |
In 1841 William married Mary Ratliff and they had a son Clement William (1843–1926), who went on to become a stained-glass designer (for Lavers, Barraud and Westlake), a Jesuit priest, poet and playwright. Mary died soon after the birth and in 1850 William married Margaret Harrison. |
William died in Kensington, London from dysentery and typhoid fever on 1 October 1850, in his fortieth year. |
References |
External links |
A grey and a chestnut hunter with a deerhound (oil on canvas, 1845) |
A Grey in a stable (Oil on canvas, 1840) |
Works by William Barraud (AskArt) |
William Michael Harnett (August 10, 1848 – October 29, 1892) was an American painter known for his trompe-l'œil still lifes of ordinary objects. |
Early life |
Harnett was born in Clonakilty, County Cork, Ireland, during the time of the Great Famine. His father was a shoemaker. Shortly after Harnett's birth his family emigrated to America, settling in Philadelphia. He was naturalized as a United States citizen in 1868. He learned engraving at the age of seventeen, and between... |
Work |
The style of trompe-l'œil painting that Harnett developed was distinctive and inspired many imitators, but it was not without precedent. A number of 17th-century Dutch painters, Pieter Claesz for instance, had specialized in tabletop still life of astonishing verisimilitude. Raphaelle Peale, working in Philadelphia in ... |
Although his works sold well to a clientele of merchants and industrialists, and were on display in many business offices, department stores, and taverns, they did not conform to contemporary notions of high art. On the rare occasions when they were included in exhibitions in museums or at the National Academy of Desi... |
Harnett spent the years 1880–1886 in Europe, staying in Munich from 1881 until early 1885. Harnett's best-known paintings, the four versions of After The Hunt, were painted between 1883 and 1885. Each is an imposing composition of hunting equipment and dead game, hanging on a door with ornate hinges at the right and k... |
Overall, Harnett's work is most comparable to that of the slightly younger John F. Peto. The two artists knew each other, and a comparison can be made between two paintings featuring violins. Harnett's Music and Good Luck from 1888 shows the violin hanging upright on a door with ornate hinges and with a slightly torn ... |
When the catalogs of Harnett and Peto were posthumously analyzed, it was determined that "many of [Peto's] canvases received forged signatures of William Harnett." |
Later years and death |
Crippling rheumatism plagued Harnett in his last years, reducing the number but not the quality of his paintings. He died in New York City in 1892 and was interred at the Old Cathedral Cemetery in Philadelphia, Pennsylvania. Other artists who painted similar compositions in Harnett's wake include his contemporary John ... |
Collections |
Harnett's work is in collections in the Munson-Williams-Proctor Arts Institute (Utica, New York), Albright-Knox Art Gallery (Buffalo, New York), the Amon Carter Museum (Texas), the Dallas Museum of Art, the Art Institute of Chicago, the Brooklyn Museum of Art, the Carnegie Museum of Art (Pittsburgh), the Cincinnati Art... |
Gallery |
Legacy |
William M. Harnett was honored with a U.S. commemorative stamp in 1969, first placed on sale at Boston, Massachusetts, on December 3, 1969. The painting featured in the stamp is Old Models, which is held in the collection of the Boston Museum of Fine Arts. |
Notes |
References |
Frankenstein, Alfred. The Reality of Appearance: The Trompe l'Oeil Tradition in American Painting. Greenwich, Connecticut: New York Graphic Society Ltd, 1970. ISBN 0-8212-0357-6 |
Harnett William Michael et al. William M. Harnett. Fort Worth New York: Amon Carter Museum; Metropolitan Museum of Art: H.N. Abrams, 1992. ISBN 9780810934108 |
Further reading |
Frankenstein, Alfred. After the Hunt: William Harnett and other American Still Life Painters 1870–1900. Berkeley: University of California Press, 1953. |
External links |
A digitized scrapbook and two exhibition catalogs of William Harnett's work from The Metropolitan Museum of Art Libraries |
William Redmore Bigg (Felsted, Essex 6 January 1755 – 6 February 1828 London) was a British painter. |
Bigg was born in Felsted in Essex to William and Grace Bigg. He enrolled in the Royal Academy schools in 1778 where he studied under Edward Penny (1714–1791) whose forte was depicting acts of charity. Bigg's greatest delight was in painting children. His first work in this genre to be exhibited in 1778 was Schoolboys ... |
Bigg exhibited regularly at the Royal Academy and the British Institution until his death. After having been an associate for many years, he was elected an RA in 1814. He died in London. |
References |
External links |
22 artworks by or after William Redmore Bigg at the Art UK site |
Wouter Knijff (1605 in Wesel – 1694 in Bergen op Zoom), was a Dutch Golden Age landscape painter. |
According to the RKD he was the nephew of Janneke Knijff who married Jan Vermeer van Ham, the grandparents of the Haarlem painter Jan Vermeer van Haarlem the Elder. Knijff became a member of the Haarlem Guild of St. Luke in 1640 and became the father and teacher of the painters Jacob, Willem and Leendert. |
He was a follower of Jan van Goyen who taught his sons and was followed by the monogrammists AVZ, PHB, TVB, and Balthasar van der Veen. |
References |
Wouter Knijff on Artnet |
Zanobi di Benedetto di Caroccio degli Strozzi (17 November 1412 – 6 December 1468), normally referred to more simply as Zanobi Strozzi, was an Italian Renaissance painter and manuscript illuminator active in Florence and nearby Fiesole. He was closely associated with Fra Angelico, probably as his pupil, as told by Vasa... |
Vasari says Strozzi "painted pictures and panels for a great many private houses in Florence"; he also mentions a double portrait. Strozzi may have been something of a pioneer in small narrative pictures for homes, which departed from the usual subject of the Virgin and Child. |
He was one of the most important Florentine illuminators of his day, with documents confirming his participation in at least eighteen surviving manuscripts (in which he often worked as but one of a group of artists). This stands in contrast to his paintings; except for one signed work in London's National Gallery, all ... |
Biography |
Strozzi was born in Florence on 17 November 1412. He was a member of the extended Strozzi family, a wealthy and noble clan that rivaled the Medici family. After he was orphaned at age 15, Strozzi went to live with the artist Battista di Biagio Sanguigni, described in documents as his "tutor" but more probably also his ... |
Strozzi is not recorded as joining the Florentine painters' guild the Arte dei Medici e degli Speziali, thereby precluding him from contracting paintings (as opposed to illuminations) under his own name in Florence. His commissions must thus have been received on behalf of other artists, like Sanguigni or Fra Angelico... |
In 1438 Strozzi married and moved into a new house in the same parish in Fiesole. Before that he was sharing a house with Sanguigni. When Fra Angelico moved to Rome in 1446, Strozzi moved to Florence, where he rented a house in the parish of San Paolo, near Santa Maria Novella. In 1450 he bought a house in another pa... |
Works |
Panel paintings |
Strozzi's only "signed" painting is an Annunciation for the church of San Salvatore al Monte, Florence (c. 1440–45), now in the National Gallery, London. The painting's signature is semi-hidden in the decorated gold border to the Virgin's dress, where can be seen "Z" (reversed), followed by "A", then after a gap filled... |
An altarpiece of unknown provenance, now split between several museums, has been attributed to Strozzi. The main panel of this work was the Virgin and Child at the Hermitage Museum. The side panels, of which there were two, comprised the Saints Nicholas, Lawrence, and John the Baptist, now at the Hyde Collection, Glens... |
Around 1460, Strozzi painted an altarpiece for the convent of San Girolamo in Fiesole (Musée du Petit Palais, Avignon). This commission was awarded by the Medici, whose newly constructed villa in Fiesole was located a short distance from the convent. |
Several paintings by Strozzi described in archival documents are now lost. Between 1434 and 1439 he painted a panel for the choir screen of the church of Sant'Egidio, Florence, perhaps identifiable with the Madonna and Child with Four Angels today at the Museum of San Marco in Florence. He also painted a painted crucif... |
A large Last Judgement by Strozzi for the convent of San Benedetto Porta a Pinti, Florence, was one of many paintings that disappeared from the Berlin State Museums in World War II. A smaller version of the subject is in a private collection. |
Of his six Virgin and Child panels, five use the popular Madonna of Humility type, in which the Virgin sits low on the ground on a cushion instead of a throne. The earliest of these, in the Royal Collection, gave rise to the artist's old notname, the Master of the Buckingham Palace Madonna. Strozzi's sixthVirgin and Ch... |
A few small-scale narrative paintings by Strozzi appear to have been independent works for domestic interiors. These include a Nativity at the Metropolitan Museum of Art, an Annunciation at the Philadelphia Museum of Art, and a God the Father Enthroned with Two Angels at the Musée Jacquemart-André, Paris. |
Illuminations |
As an illuminator, Strozzi was responsible with Filippo di Matteo Torelli for several choir books for the church of San Marco. These were carried out between 1446 and 1454 on the commission of Cosimo de' Medici. In 1463 he collaborated with Francesco di Antonio del Chierico on a choir-book for the Cathedral of Florence... |
A set of nine grisaille designs in pen, wash and gouache, now housed in several museums, are probably designs for a goldsmith to follow in the sections of a reliquary or similar object. |
Notes |
References |
Christiansen, Keith, Met "catalogue" entry, on Nativity Scene's web page, 2012 |
Garzelli, Annarosa (31 March 2000), "Francesco di Antonio del Chierico" in Grove, Oxford Art Online. |
Gordon, Dillian, National Gallery Catalogues (new series): The Fifteenth Century Italian Paintings, Volume 1, 2003, ISBN 1857092937 |
Kanter, Laurence, and Pia Palladino, with contributions by Magnolia Scudieri, Carl Brandon Strehlke, Victor M. Schmidt, and Anneke de Vries, Fra Angelico, 2005, New York: The Metropolitan Museum of Art, google books |
Vasari, selected & ed. George Bull, Artists of the Renaissance, Penguin 1965 (page nos from BCA edn, 1979) |
Further reading |
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