Italian Painter, 1710-1743 Italian painter and engraver. His first biographers, Orlandi and Guarienti (1753), stated that Marieschi worked in Germany early in his career and then returned to Venice, where he established himself as a painter of 'beautiful views of the Grand Canal, and of churches and palaces'. Yet there is no other evidence for this journey and Marieschi's early training remains problematic. It seems likely that he began his career as a stage designer: his first recorded activity, in 1731, was the preparation, on behalf of the impresario Francesco Tasso ( fl 1725-c. 1740), of the setting for the Venetian celebration of Carnival Thursday in the Piazzetta. He then, influenced by Marco Ricci and Luca Carlevaris, began to paint capriccios and vedute. His early capriccios, such as the pair Capriccio with Classical Ruins and Bridge and Capriccio with Roman Arch and Encampment (mid-1730s; Naples, Mus. Civ. Gaetano Filangieri), are indebted to Ricci, although they lack his solemnity and magnificence. Marieschi's blend of medieval and Classical ruins in a serene Venetian landscape is more picturesque and romantic. Marieschi began to paint vedute having been encouraged by Canaletto's great success with the genre; examples such as the S Maria della Salute (1733-5; Paris, Louvre), the Piazzetta dei Leoni and the Grand Canal at Ca' Pesaro (1734-5; both Munich, Alte Pin.) are distinguished from Canaletto's work by their exaggerated perspective, more atmospheric colour and the spirited handling of the small figures. Two capriccios, the Town on a River with Rapids (London, N.G.) and the Town on a River with Shipping (London, N.G.;.), both charmingly picturesque scenes with watermills and crumbling towers, date from the mid-1730s. Marieschi began to etch in the 1730s,  Related Paintings of MARIESCHI, Michele :. | The Rialto Bridge in Venice (detail) ag | The Grand Canal with the Fishmarket (detail) sgh | The Grand Canal near the Salute sg | Buildings and Figures Near a River with Shipping | The Grand Canal with the Fishmarket sg |
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Cornelis van Poelenburch
(1594 - 12 August 1667) was a Dutch Golden Age landscape painter. Though his birthplace is unknown, a signed document survives in Utrecht where he is listed as six years old and the son of Simon van Poelenburch, a Catholic canon in Utrecht.He initially trained with Abraham Bloemaert, and his earliest signed paintings are from 1620.He traveled to Rome where he was influenced by Adam Elsheimer and became a founding member of the Bentvueghels. He counted a few cardinals under his patrons, and was called to England by Charles I of England, for whom he made small cabinet pieces. He returned to Utrecht where he later died just a few years after his old teacher Abraham Bloemaert.He painted mostly small landcapes with mythical or religious figures or passages, in a style that would later be evident in some of the works of Claude Lorraine. His "most important and successful" pupils were Daniël Vertangen, Dirck van der Lisse, François Verwilt, and Jan van Haensbergen. Arnold Houbraken claimed that his best pupil was Joan vander Lis from Breda (not Dirk vander Lis from The Hague). Houbraken then mentioned Vertangen, Verwilt, Warnard van Rysen from Bommel, and Willem van Steenree, a nephew. The RKD also mentions Laurens Barata.
Giuseppe Vermiglio
Giuseppe Vermiglio (c.1585 - c.1635) was a Caravaggist painter from Northern Italy, active also in Rome. Our knowledge of Vermiglioes life is sketchy. It is probable that he was born in Alessandria. He spent the first two decades of the seventeenth century in Rome where, while training and working as an artist, he adopted a bohemian lifestyle with a tendency to become involved in painterly brawling: in 1604 he supported his master Adriano di Monteleonees account of a dispute with two unknown artists which had led to Monteleone being wounded by his own wife; the following year Vermiglio was arrested and imprisoned after being discovered at the Monte di Brianza hostellry bearing an unlicensed sword; and in 1611 proceedings were brought against him for physically attacking the painter Silvio Oliviero. In 1618, still in Rome, he is recorded as a picture dealer. Around 1620 he returned to northern Italy where he pursued his career as a painter in Piedmont (Novara and Alessandria) and in Lombardy (notably in Mantua and Milan). His art was profoundly influenced by Caravaggio. Other painters to whom his work is thought, on the basis of stylistic references, to be indebted include the Bolognese Annibale Carracci and Guido Reni; it has been suggested that Vermiglio worked or studied in Bologna at some point. Luigi Lanzi acclaimed the painting of Daniel among the lions, in the library of the Passione in Milan, as his masterwork. Judgments of quality of his work have ranged from Alfred Moires inconsequential craftsmane to Lanzies the best painter in oils of which the ancient state of Piedmont could boast, and one of the best Italian artists of his times.
Cecelia Beaux
1824-1900 William Holbrook Beard Gallery Beard was born in Painesville, Ohio. He studied abroad, and in 1861 moved to New York City, where in 1862 he became a member of the National Academy of Design. He was a prolific worker and a man of much inventiveness and originality, though of modest artistic endowment. His humorous treatment of bears, cats, dogs, horses and monkeys, generally with some human occupation and expression, usually satirical, gave him a great vogue at one time, and his pictures were largely reproduced. His brother, James Henry Beard (1814-1893), was also a painter.