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ARTIST: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Art Work: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

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Abbot H Thayer

1849-1921 Abbot H Thayer Galleries Abbott Handerson Thayer (August 12, 1849 ?C May 29, 1921) was an American artist, naturalist and teacher. As a painter of portraits, figures, animals and landscapes, he enjoyed a certain prominence during his lifetime, as shown by the fact that his paintings are in the most important U.S. art collections. In the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a major book about protective coloration in nature, titled Concealing Coloration in the Animal Kingdom: An Exposition of the Laws of Disguise Through Color and Pattern; Being a Summary of Abbott H. Thayer??s Disclosures. First published by Macmillan in 1909, then reissued in 1918, it had a widespread impact on the use of military camouflage during World War I. He also influenced American art through his efforts as a teacher, taking on apprentices in his New Hampshire studio.

Caritas
Caritas
Painting ID:: 4553

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1894-95 Museum of Fine Arts, Boston
1894-95 Museum of Fine Arts, Boston

Floris van Dijck

Dutch Baroque Era Painter, 1575-1651 Dutch painter and draughtsman. He is thought to have been a pupil of Rembrandt in Amsterdam c. 1650. There is no documentary evidence for this, but his earliest dated painting, the Presentation in the Temple shows that he had certainly seen examples of Rembrandt work. He was an eclectic artist, given to following several models simultaneously. This is evident from two versions of Elijah and the Widow of Zarephath; one (1655-60; Copenhagen, Stat. Mus. Kst) is painted in horizontal format in the style of Barent Fabritius, while the other (1655-60; Milwaukee, WI, A. Bader priv. col., see Sumowski, 1983, no. 362) features large half-length figures in the manner of Nicolaes Maes. In another biblical scene, Benjamin and Judah (1655-60; Chicago, IL, A. Inst.), he followed the example of Rembrandt. His best works, such as Saying Grace (1655-60; Hannover, Nieders?chs. Landesmus.) and the Old Prophetess (1655-60; Leipzig, Mus. Bild. Kst), show old women either praying or sleeping and confirm that Maes was his main source of inspiration. Similar subjects are represented in the drawings attributed to him (e.g. Old Woman Seated, Holding a Book; New York, Pierpont Morgan Lib.). In the late 1650s van Dijck also seems to have been influenced by the genre paintings of Gabriel Metsu and above all by Quiringh van Brekelenkam, as in Hermit Praying in a Cave (late 1650s; St Petersburg, Hermitage) and Family Saying Grace (late 1650s; Stockholm, Nmus.).

Caritas
Caritas
Painting ID:: 78689

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Oil on wood Dimensions 99 x 129 cm (39 x 50.8 in) cyf
Oil on wood Dimensions 99 x 129 cm (39 x 50.8 in) cyf

FLORIS, Frans

Flemish Northern Renaissance Painter, ca.1516-1570

Caritas
Caritas
Painting ID:: 79348

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English: 16th century Medium Oil on wood Dimensions 99 x 129 cm (39 x 50.8 in) cyf
English: 16th century Medium Oil on wood Dimensions 99 x 129 cm (39 x 50.8 in) cyf

Francesco Morandini Da Poppi

Italian Painter (1544-1597)

Caritas
Caritas
Painting ID:: 82477

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English: c. 1570 Medium Oil on canvas cyf
English: c. 1570 Medium Oil on canvas cyf

Francesco Morandini Da Poppi
Italian Painter (1544-1597)
Caritas
English: c. 1570 Medium Oil on canvas cyf

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