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TEMPEL, Abraham van den
(b. 1622/23, Leeuwarden, d. 1672, Amsterdam)
Biography
Dutch painter. He was the son of the Frisian painter and Mennonite minister Lambert Jacobsz.. He received his training in Amsterdam from Jacob Backer c. 1642-6, after which he took up residence in Leiden. He married there in 1648. The influence of Backer is evident in several of his early biblical and allegorical paintings, for instance in three allegories, including the Maiden of Leiden Crowned by Minerva, which he painted in 1650-51 for the Lakenhal (the Cloth Hall) in Leiden (all Leiden, Stedelijk Museum Lakenhal). He later turned primarily to portrait painting, of which there are several dozen surviving works dating from 1660, when he moved to Amsterdam, until his death. Good examples are the pendant portraits of the Leiden cloth-manufacturer Pieter de la Court and his second wife Catharina van der Voort (1667; Amsterdam, Rijksmuseum).
Van den Tempel also painted group portraits, such as that of Albertina Agnes van Nassau-Dietz and her Children (1668; Leeuwarden, Fries Museum) and the portrait of the Amsterdam merchant David Leeuw with his Wife and Children (1671; Amsterdam, Rijksmuseum). These handsome portraits show some influence of Bartholomeus van der Helst but nevertheless reflect his own slightly more sober style. His paintings are among the best Dutch portraits of the third quarter of the 17th century. His work is characterized by the combination of static poses and elegant execution of details, particularly in the rendering of textiles. Among his pupils were Frans van Mieris and Michiel van Musscher.
TAMM, Franz Werner von
(b. 1658, Hamburg, d. 1724, Wien)
Biography
German painter, active in Italy and Austria. He was first trained in Hamburg by Dietrich von Sosten (fl 1669; d 1695) and Johann Joachim Pfeiffer (1662-1701). Although he initially leant towards historical painting, later he painted only still-lifes. Resident in Rome from 1685 to 1695, he was introduced into the city's Flemish/Italian circle of artists by Gaspar van Wittel. He worked occasionally with Pieter van Bloemen and Carel van Vogelaer (1653-95), then became a follower of Carlo Maratti, who painted the figures in his still-lifes. Through Maratti he gained commissions from the Roman patrician families, and their patronage made him known in Spain, France, England and Germany.
Franz Werner Von Tamm.
TAMM, Franz Werner von.
Franz Werner von Tamm on artnet .
Franz Werner Von Tamm.
Franz Werner von Tamm.
Franz Werner VON TAMM.
Franz Werner von Tamm .
Franz Werner von Tamm (1658 - 1724)
PELLEGRINI, Giovanni Antonio
(b. 1675, Venezia, d. 1741, Venezia)
Biography
Venetian decorative painter, who was a pupil of Sebastiano Ricci and one of the most important of Tiepolo's predecessors. Like Pittoni, he worked for many foreign patrons and travelled widely. He was first recorded as a painter in 1703 and soon after this he married the sister of Rosalba Carriera, who mentions him in her diary on several occasions. In 1707 Lord Manchester went on an embassy to Venice; he commissioned a picture to celebrate the event from Carlevaris and brought Pellegrini and Marco Ricci back to London with him in 1708. Pellegrini soon had considerable success and became a Director of Kneller's Academy in 1711.
Vertue says that Pellegrini 'painted prodigious quick, had a very noble and fruitfull invention' which may be seen in the decorations at Kimbolton Castle (now a school), done for Lord Manchester, or in the decorations at Castle Howard (1709, mostly destroyed in 1941). In these decorative series Pellegrini shows that he was a true precursor of Tiepolo in the lightness and gaiety of his touch which contrasts with the duller history painting of Pittoni.
In 1713 he went to Germany and Flanders; returning to England in 1719 when, according to Vertue, he was less successful because Marco Ricci had sent for his uncle Sebastiano, who was generally agreed to be a better painter. Pellegrini also painted a splendid ceiling for the Bank of France (since destroyed) in Paris, decorated the Great Hall in the Mauritshuis in The Hague (1718), and worked in Prague, Dresden and Vienna. There is a sketch of 1710 in London (Victoria and Albert Museum) which may represent his design for the cupola of St Paul's for which, according to Vertue, 'he made several designs and a moddle for painting the Cupolo at St Paul's for which he was paid tho' he had not the cupolo to paint'. There are works by him in Barnard Castle (Bowes Museum), Berlin, Birmingham, Boston, Cleveland Ohio, Dresden, Dublin, The Hague, Leeds, London (National Gallery), Oxford (Ashmolean), Paris (Louvre), Toledo Ohio, Vienna and elsewhere.
TENIERS, David the Younger
(b. 1610, Antwerpen, d. 1690, Bruxelles)
Biography
Prolific Flemish painter of the Baroque period known for his genre scenes of peasant life. He was the son and pupil of David Teniers the Elder. In 1637 he married Anna, daughter of the painter Jan Brueghel the Elder.
Teniers painted almost every kind of picture, but chiefly genre scenes of peasant life, many of which were subsequently used for tapestry designs in the 18th century. His early works in this vein show the influence of Adriaen Brouwer (e.g., Twelfth-night, Museo del Prado, Madrid). Many of his finer works date from 1640 to 1650. He was brilliant at handling crowd scenes in an open landscape and adept at characterizing his figures with a warm, human, and often humorous touch (e.g., The Village Fête, 1646; Hermitage, St. Petersburg). His landscape settings are atmospheric, and his still-life details precise. In the same decade he also painted a number of monumental processions (e.g., Procession of the Antwerp Civic Guards, 1643; Hermitage, St. Petersburg).
Teniers developed a second career in 1651 when he moved to Brussels, becoming court painter and keeper of the art collections to the regent of the Netherlands, the archduke Leopold William. He painted several views of the Archduke's picture gallery. He also made many small-scale individual copies of paintings in the Duke's collection by foreign artists, especially Italians. Of these, 244 were engraved in 1660 under the title Theatrum Pictorium. As a pictorial inventory of a great 17th-century collection, this book of engravings was unique in its time and still constitutes a valuable source for the art historian.
Teniers was also court painter to Don John of Austria, who succeeded the Archduke as regent in 1656, and was one of the prime movers in the foundation of the Brussels Academy of Fine Arts (1663) and subsequently the Academy in Antwerp (1665). Teniers' son, also named David (1638-85), often imitated his father's work. There are several of his altarpieces in churches in Belgium.
PAOLINI, Pietro
(b. 1603, Lucca, d. 1681, Lucca)
Biography
Italian painter. He was the son of Tommaso Paolini and Ginevra Raffaelli, both from Lucca. In 1619 Paolini's father sent him to study under Angelo Caroselli in Rome. His artistic formation was also influenced by the circle of Italian and, especially, northern European followers of Bartolomeo Manfredi, who were active in Rome between 1620 and 1630. The following works, though undocumented, may be dated to this Roman period: Martha and Mary Magdalene (Rome, Galeria Pallavicini), the Concert of Female Musicians (Malibu, Getty Museum) and the Bacchic Concert (private collection). Paolini's first religious works, such as the Deposition (Lucca, S Frediano), as well as many portraits, also show signs of Roman influence. Around 1628 he went to Venice, where he stayed for two years. The effects of this visit can be seen in his later religious works, such as the Virgin and Saints (Rome, Palazzo Barberini) and the Virgin and Saints (Lucca, Villa Guinigi), and also in his history paintings, such as Esther and Ahasuerus (Denver, Art Museum).
He returned to Lucca in 1631, where, from these early experiences, he created an original style, in which he painted cabinet pictures, often on musical or allegorical themes, such as the Ages of Life (private collecton) and the series Music, Astronomy, Geometry, Philosophy (private collection). Around 1650 he opened, at his own expense, an academy based on the principle of 'art from nature', at which numerous artists, such as Girolamo Scaglia, Antonio Franchi, Simone del Tintore and his brother Francesco were trained. Paolini introduced still-life painting in Lucca, for example Still-life with Flowers, Fruit and a Dove in Flight (Potenza, Palazzo S Gervasio), a genre with which he had considerable success. Pietro Paolini .Pietro Paolini .Pietro Paolini (1603 - 1681)..Pietro Paolini.Pietro Paolini .
Pietro Paolini .Pietro Paolini .
PALOMINO, Acislo Antonio
(b. 1655, Bujalance, Córdoba, d. 1726, Madrid)
Biography
Spanish historical painter and writer on art, called the Spanish Vasari. (His full name is Acisclo Antonio Palomino de Castro y Velasco.) He was born of good family and studied philosophy, theology and law in Cordoba, receiving also lessons in painting from Valdes Leal, who visited Córdoba in 1672, and afterwards from Alfaro (1675). He moved to Madrid in 1678 and married soon afterwards. In 1688 he was appointed painter to the king. He visited Valencia in 1697, and remained there three or four years devoting himself to fresco painting. Between 1705 and 1715 he resided for considerable periods at Salamanca, Granada and Córdoba. After the death of his wife in 1725 Palomino took priests orders.
He painted frescoes and easel pictures in Valencia, Córdoba, and Granada, but he is famous chiefly for his history of art (in 3 volumes, 1715-24), the third volume of which contains a wealth of biographical material concerning Spanish artists of the 16th and 17th centuries. It was partially translated into English in 1739; an abridgment of the original was published in London in 1742, and afterwards appeared in a French translation in 1749. A German version was published at Dresden in 1781, and a reprint of the entire work at Madrid in 1797.
Antonio Palomino .
PALOMINO, Acislo Antonio.
Acislo Antonio Palomino de Castro y Velasco ..
METSU, Gabriel
(b. 1629, Leiden, d. 1667, Amsterdam)
Biography
Dutch painter, active in his native Leiden, then in Amsterdam, where he had moved by 1657. Houbraken says he trained with Dou, but Metsu's early works are very different from his - typically historical and mythological scenes, broadly rather than minutely painted. Metsu also painted portraits and still-lifes, but his most characteristic works are genre scenes, some of which rank among the finest of their period. He concentrated on scenes of genteel middle-class life, fairly close to de Hooch and Terborch in style, but with a personal stamp. One of his best-known works, The Sick Child (Rijksmuseum, Amsterdam), is often compared with Vermeer. His work is rarely dated, so his development and relationships with
METSU, Gabriel
O quadro "A criança doente" traz um bebê doente e abatido que se esvalece no colo de uma mulher. Do lado deles tem um armário, uma tigela com colher. Atrás, um mapa aberto e um quadro mostrando a cruxificação de Cristo. Possivelmente há mais a ser visto nesta imagem de Gabriel Metsu do que parece à primeira vista. Pode ser que a mulher represente a virtude de Cristo e o amor ao próximo. A obra está exposta no Rijksmuseum, museu nacional dos Países Baixos, localizado em Amsterdã.
(Com colaboração de Catharina Mafra) Via Blog do Noblat
TENIERS, David the Younger
(b. 1610, Antwerpen, d. 1690, Bruxelles)
Biography
Prolific Flemish painter of the Baroque period known for his genre scenes of peasant life. He was the son and pupil of David Teniers the Elder. In 1637 he married Anna, daughter of the painter Jan Brueghel the Elder.
Teniers painted almost every kind of picture, but chiefly genre scenes of peasant life, many of which were subsequently used for tapestry designs in the 18th century. His early works in this vein show the influence of Adriaen Brouwer (e.g., Twelfth-night, Museo del Prado, Madrid). Many of his finer works date from 1640 to 1650. He was brilliant at handling crowd scenes in an open landscape and adept at characterizing his figures with a warm, human, and often humorous touch (e.g., The Village Fête, 1646; Hermitage, St. Petersburg). His landscape settings are atmospheric, and his still-life details precise. In the same decade he also painted a number of monumental processions (e.g., Procession of the Antwerp Civic Guards, 1643; Hermitage, St. Petersburg).
Teniers developed a second career in 1651 when he moved to Brussels, becoming court painter and keeper of the art collections to the regent of the Netherlands, the archduke Leopold William. He painted several views of the Archduke's picture gallery. He also made many small-scale individual copies of paintings in the Duke's collection by foreign artists, especially Italians. Of these, 244 were engraved in 1660 under the title Theatrum Pictorium. As a pictorial inventory of a great 17th-century collection, this book of engravings was unique in its time and still constitutes a valuable source for the art historian.
Teniers was also court painter to Don John of Austria, who succeeded the Archduke as regent in 1656, and was one of the prime movers in the foundation of the Brussels Academy of Fine Arts (1663) and subsequently the Academy in Antwerp (1665). Teniers' son, also named David (1638-85), often imitated his father's work. There are several of his altarpieces in churches in Belgium.
TENIERS, David the Elder
(b. 1582, Antwerpen, d. 1649, Antwerpen)
Biography
David Teniers the Elder (David I) was a Flemish Late Mannerist painter, mainly of religious subjects, who worked in Antwerp. He may have been associated with Rubens before going to Rome, where he worked in the Elsheimer circle, c. 1600-05. He became a master in Antwerp in 1606, but was constantly in debt and was active mainly as a dealer in his last years. The working lives of David the Elder and his son David the Younger (David II) - by far the most famous of the family - overlapped in the 1630s, and it is not clear who painted certain pictures in that period; what is clear that many of the paintings ascribed to David I in the 19th century are by David II.
David Teniers the Elder
David Teniers
David Teniers The Elder
David Teniers the Elder
David Teniers, the Elder
CATHOLIC ENCYCLOPEDIA: David Teniers
David Teniers
Teniers, David
David Teniers the Elder
David Teniers
TEMPEL, Abraham van den
(b. 1622/23, Leeuwarden, d. 1672, Amsterdam)
Biography
Dutch painter. He was the son of the Frisian painter and Mennonite minister Lambert Jacobsz.. He received his training in Amsterdam from Jacob Backer c. 1642-6, after which he took up residence in Leiden. He married there in 1648. The influence of Backer is evident in several of his early biblical and allegorical paintings, for instance in three allegories, including the Maiden of Leiden Crowned by Minerva, which he painted in 1650-51 for the Lakenhal (the Cloth Hall) in Leiden (all Leiden, Stedelijk Museum Lakenhal). He later turned primarily to portrait painting, of which there are several dozen surviving works dating from 1660, when he moved to Amsterdam, until his death. Good examples are the pendant portraits of the Leiden cloth-manufacturer Pieter de la Court and his second wife Catharina van der Voort (1667; Amsterdam, Rijksmuseum).
Van den Tempel also painted group portraits, such as that of Albertina Agnes van Nassau-Dietz and her Children (1668; Leeuwarden, Fries Museum) and the portrait of the Amsterdam merchant David Leeuw with his Wife and Children (1671; Amsterdam, Rijksmuseum). These handsome portraits show some influence of Bartholomeus van der Helst but nevertheless reflect his own slightly more sober style. His paintings are among the best Dutch portraits of the third quarter of the 17th century. His work is characterized by the combination of static poses and elegant execution of details, particularly in the rendering of textiles. Among his pupils were Frans van Mieris and Michiel van Musscher.
TAMM, Franz Werner von
(b. 1658, Hamburg, d. 1724, Wien)
Biography
German painter, active in Italy and Austria. He was first trained in Hamburg by Dietrich von Sosten (fl 1669; d 1695) and Johann Joachim Pfeiffer (1662-1701). Although he initially leant towards historical painting, later he painted only still-lifes. Resident in Rome from 1685 to 1695, he was introduced into the city's Flemish/Italian circle of artists by Gaspar van Wittel. He worked occasionally with Pieter van Bloemen and Carel van Vogelaer (1653-95), then became a follower of Carlo Maratti, who painted the figures in his still-lifes. Through Maratti he gained commissions from the Roman patrician families, and their patronage made him known in Spain, France, England and Germany.
Franz Werner Von Tamm
Franz Werner von Tamm
Franz Werner Von Tamm
Franz Werner von Tamm (1658 - 1724)
Franz Werner von Tamm
Franz Werner von Tamm
Franz Werner VON TAMM
FRANZ WERNER TAMM
VON TAMM Franz Werner
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