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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 of French Huguenot origin that had come over to England at the time of the revocation of the Edict of Nantes. His younger brother Henry Barraud was also a notable artist, and another, Edward, though talented in art did not take it up as a profession. |
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 Institution from 1828–49, the Society of British Artists and at other venues. His work was popular with huntsmen and dog-fanciers. He also produced some historical and landscape paintings. |
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 Figures and Animals" (H. Graves and Co. c. 1850). William also collaborated on another book with fellow artist Thomas Fairland (1804–52) called "The book of animals drawn from nature" (C. Tilt, 1846). |
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 1865 and 1875 he made a living first in Philadelphia and then in New York City by engraving designs on table silver for firms such as Tiffany and Company. During this period he also took night classes at the Pennsylvania Academy of the Fine Arts and later, in New York, at Cooper Union and at the National Academy of Design. His first known oil paintings date from 1874; among them are studies of plaster casts of Minerva and Cupid and his first known finished still-life painting, Paint Tube and Grapes. |
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 the early 19th century, pioneered the form in America. What sets Harnett's work apart, besides his enormous skill, is his interest in depicting objects not usually made the subject of a painting. Harnett painted musical instruments, hanging game, and tankards, but also painted the unconventional Golden Horseshoe (1886), a single rusted horseshoe shown nailed to a board. He painted a casual jumble of second-hand books set on top of a crate, Job Lot, Cheap (1878), as well as firearms and paper currency. |
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 Design they were criticized as mere novelties. |
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 keyhole plate at the left. These paintings, like the horseshoe or currency depictions mentioned earlier, are especially effective as trompe-l'œil because the objects occupy a shallow space, meaning that the illusion is not spoiled by parallax shift if the viewer moves. |
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 piece of sheet music behind it. The elements are arranged in a stable, deliberate manner. Peto's 1890 painting shows the violin hanging askew, as well as chipped and worn, with one string broken. The sheet music is dog-eared and torn around the edges, and placed haphazardly behind the instrument. The hinges are less ornate, and one is broken. Harnett's objects show signs of use but are well preserved, while Peto's more humble objects are nearly used up. |
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 Haberle and successors such as Otis Kaye, Jefferson David Chalfant, and Richard La Barre Goodwin. |
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 Museum, the Cleveland Museum of Art, the Detroit Institute of Arts, the Fine Arts Museums of San Francisco, Harvard University Art Museums, the High Museum of Art (Atlanta, Georgia), the Honolulu Museum of Art, the Joslyn Art Museum (Nebraska), the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the National Gallery of Art (Washington D.C.), the National Gallery of Canada (Ottawa), the Philadelphia Museum of Art, the San Diego Museum of Art (California), Thyssen-Bornemisza Museum (Madrid), the Toledo Museum of Art (Ohio), the Wadsworth Atheneum (Connecticut), and the Wichita Art Museum among others. |
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 giving Charity to a Blind Man. A year later he painted a similar work, A Lady and her Children relieving a Distressed Cottager. Apart from these his Palemon and Lavinia, the Shipwrecked Sailor Boy, and Youths relieving a Blind Man were very well received, and all were engraved. His subject choice and execution place him with Wheatley and George Morland. Bigg produced many small portraits in oil and pastel, as well as rustic genre paintings. His genre paintings and portraits have great charm and were highly popular in his day, the best engravers being used to render his work. |
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 Vasari. He is the same painter as the Master of the Buckingham Palace Madonna. Most of his surviving works are manuscript illuminations but a number of panel paintings have also been attributed to him, including seven altarpieces and six panels with the Virgin and Child, along with some designs for metalwork. |
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 of his paintings are attributed to him on the basis of style alone. |
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 teacher in the art of painting and illumination. Sometime between 1427 and 1430 the pair moved to Fiesole, about five miles from Florence. |
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, who according to Vasari was another of Strozzi's teachers. Strozzi and Sanguigni would have both met Angelico in the 1430s at the convent of San Domenico, Fiesole, Angelico's base until 1436. |
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 parish. On his death in 1468 he was buried in Santa Maria Novella, Florence. |
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 with ornament, "NOBI". |
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 Falls, New York, at the left, and the Saints Zenobius, Francis, and Anthony of Padua at the Yale University Art Gallery, New Haven, on the right. The continuation of the floor and the figures' draperies across all three panels proves that they originally belonged together as a single altarpiece. A Nativity at the Metropolitan Museum of Art in New York and Adoration of the Magi in the National Gallery in London might have also belonged to this altarpiece as parts of its predella. |
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 crucifix for San Marco, recorded in 1448. Vasari mentions a double portrait of Giovanni di Bicci de' Medici (d. 1429), founder of the Medici family fortune, and his ally, Bartolommeo di Taldo Valori. In Vasari's day the portrait was in the bedroom of Cosimo I de' Medici, Grand Duke of Tuscany. |
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 Child composition, now at the Brooklyn Museum, instead shows the Virgin enthroned between four angels. |
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, now at the Laurentian Library (Nos. 149, 150, 151). The collaboration with Francesco took eleven years and eventually involved other workshops, including those of Cosimo Rosselli, Domenico Ghirlandaio, Attavante Attavanti and the Master of the Hamilton Xenophon. Strozzi also collaborated with Francesco Pesellino and Domenico di Michelino. |
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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