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April 6 or March 28, 1483 – April 6, 1520. Italian painter.

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Pieter Cornelis Dommersen
Self portrait against landscape background by Jan van Goyen
1648(1648) Medium oil on canvas Dimensions 94 ?? 77.5 cm cyf
ID: 97646

Pieter Cornelis Dommersen Self portrait against landscape background by Jan van Goyen
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Pieter Cornelis Dommersen Self portrait against landscape background by Jan van Goyen


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Pieter Cornelis Dommersen

painted A gothic cathedral in a medieval city in 19th century   Related Paintings of Pieter Cornelis Dommersen :. | Triptych dj | Razzia | bildhuggare arbetar efter levande modell | Study of Lusi | Saint catherine |
Related Artists:
Sir William Beechey
1753-1839 British English painter. He was trained as a lawyer before entering the Royal Academy Schools, London, in 1772. He is thought to have studied under Johan Zoffany, and his earliest surviving portraits are small-scale full-lengths and conversation pieces in Zoffanys manner (e.g. The Custance Conversation Piece, c. 1786; priv. col.). Beechey first exhibited at the Royal Academy in 1776. In 1782 he moved to Norwich, where he gained several commissions, but he was back in London by 1787. In 1789 he exhibited a portrait of John Douglas, Bishop of Carlisle (London, Lambeth Pal.) that is remarkable for its facility of handling. Beechey would occasionally paint similarly inspired works, but his career is marked by a succession of unflamboyant but competent portraits in the tradition of Joshua Reynolds.
Tattegrain Francis
French , Peronne 1852-Arras 1915
TENIERS, David the Younger
Flemish Baroque Era Painter, 1610-1690 a Flemish artist born in Antwerp, was the more celebrated son of David Teniers the Elder, almost ranking in celebrity with Rubens and Van Dyck. His son David Teniers III and his grandson David Teniers IV were also painters. His wife Anna nee, Anna Breughel was the daughter of Jan Brueghel the Elder and the granddaughter of Pieter Bruegel the Elder. Through his father, he was indirectly influenced by Elsheimer and by Rubens. The influence of Adriaen Brouwer can be traced to the outset of his career. There is no evidence, however, that either Rubens or Brouwer interfered in any way with Teniers's education, and Smith (Catalogue Raisonn) may be correct in supposing that the admiration which Brouwer's pictures at one time excited alone suggested to the younger artist his imitation of them. The only trace of personal relations having existed between Teniers and Rubens is the fact that the ward of the latter






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