(1446-1515) Early Renaissance Italian painter (Florence)
BIAGIO D’ANTONIO TUCCI (see BIAGIO D'ANTONIO)
(1446-1515) Early Renaissance Italian painter (Florence)
(1694-1740) Baroque Italian painter (Rome)
BICCI DI LORENZO
(1373-1452) Early Renaissance Italian painter (Florence)
BICCI DI NERI
(1419-1491) Early Renaissance Italian painter (Florence)
BICCI, Lorenzo di
(1350-c. 1427) Early Renaissance Italian painter (Florence)
(1959- ) U.S. artist born in Barbados. From his first one-man show in N.Y., 1986, he emerged as one of the most intelligent and successful post-*Neo-Expressiomst and earliest. Postmodernist U.S. artists of the younger generation. His wall-mounted boxes/containers are air-brushed with an industrial perfection and finish that gives them the look of commodity objects, affixed to the wall with metal brackets that project out. The subject matter of the works, however, often contradicts or modifies the commodity status and the appearance of the pieces with layers of references to the artist's personal engagement m art and in contextual issues, e.g. Bad (1988), Ciood (1989) and Hiofntginent # 2 (1990). In Solomon Island Shark and other recent work, B. has abandoned the previous slick forms of his objects: a totemic-looking life-size rubber shark, with modifications, hangs from a rope.
(1758-1846) Neoclassicism French painter
(1830—1902) U.S. landscape painter of German extraction. After study in Europe (1853—7) he joined a surveying
expedition of the Rocky Mountains (1858). From then on he painted large-scale pictures mostly of the Rockies and Far West, acquiring a fortune, a great reputation and decorations from several European states. His style reflects that of the German Romantics.
(1470-1543) High Renaissance Spanish sculptor
BIGHORDI, Domenico (see GHIRLANDAIO, Domenico)
(1449-1494) Early Renaissance Italian painter (Florence)
(1600-1650) Baroque French painter (Arles)
BIJLERT, Jan van
(1597/98-1671) Baroque Dutch painter (Utrecht)
(1876—1928) Russian book illustrator. Bilibin belonged to The *World of Art group though his work, embedded in the I9th-century Russian tradition, was notable for its incorporation of folk elements.
(1576-1644) Baroque Italian painter (Florence)
(1648-1730) Baroque Italian painter (Florence)
BINGHAM, George Caleb
(1811-1879) Romanticism American painter. After a brief training at the Pennsylvania Academy of Fine Arts and travel in Europe and the U.S.A. he settled in his home state of Missouri. He painted scenes from frontier life, portraits of the wealthier Missouri citizens and many political subjects. He himself held state office.
(1928- ). Australian painter. At first attracted by the Expressionist school at Melbourne, he was one of the new-humanist group of younger painters who turned to city life for subject matter.
BISSCHOP, Jan de
(1628-1671) Baroque Dutch graphic artist (The Hague)
BISSEN, Hermann Wilhelm
(1798-1868) Realism Danish sculptor
BLAINE Mahlon"Nova Venus"
(1894 - 1969) Mahlon Blaine was a twentieth century American artist who is remembered chiefly today for his brilliant illustrations to many books, both children's and adult. His mastery of line was, and remains, unique and masterful. Likened, rightfully, to Aubrey Beardsley, Blaine was another original mind, and his interest in portraying the animal nature of humanity lost him a wider audience. The only monograph on the artist so far published is The Art of Mahlon Blaine (Peregrine Books, 1982), and this wonderful book, which includes a deep insight into the artist by his colleague Gershon Legman, contains a good cross-section of Blaine's colour and b-&-w art and an excellent bibliography of Blaine books compiled by Roland Trenary. Many other books illustrated by Blaine turn up commonly in secondhand bookshops: his illustrated versions of Voltaire's Candide and Sterne's A Sentimental Journey are frequently encountered. These books are good examples of his work, but the enthusiast is advised to pursue the many other Blaine-illustrated books, especially the weird-fantastic fiction titles so perfectly-suited to his work.
(1853-1922) The Pre-Raphaelite.
(1932- ) British artist, a noted member of the *Pop art movement. He studied at the R.C.A.; his subjects are often taken from music-hall acts, wrestling matches, etc. (Drum ... etc.), in highly finished trompe Vail style.
(1757-1827) Romanticism British poet, illustrator, draughtsman, engraver, writer and visionary. He completed (1779) his 7-year apprenticeship as an engraver with James Basire, and engraving remained his basic livelihood. B. also studied for a brief time at the R.A. In 1782 he married Catherine Boucher, his beloved and constant companion. Friends such as the sculptor Flaxman supported the publ. of Poetical Sketches (1783) hut after Songs of Innocence (1789) B. printed his own works by a process (duplicated in experiments by Ruthven Todd, S. W. Hayter and |oan Miro) of relief etching of the text and the surrounding design, printing in coloured inks often with retouching in paint. Another very successful technique was colour printing by superimposed impressions from millboard. B. lived mainly in London, but between 1800 and 1803 worked at Felpham, the estate of William Hayley, for whom B. was engraving some poems. While he was at Felpham an argument with a soldier brought B. on trial on a sedition charge, but he was acquitted. The poverty of his last years was relieved by the discipleship of such young painters as Palmer and Calvert, anil commissions from another young friend, John Linnell, for B.'s engravings of Illustrations of the Book of Job (182s) and 100-odd watercolours to Dante's Divine C.omedy. All B.'s work is infused with his intense imagination and visionary experiences; he claimed regular visits from heavenly emissaries. The powerful images of his engravings and paintings display his admiration of Michelangelo (e.g. in their distorted anatomy), Raphael and Diirer; but he rejected the academic traditions represented by Reynolds and the R.A. and the Venetian colounsts, as at once too vague and too material. His rebellion against accepted contemporary artistic theories parallels his political radicalism and religious unorthodoxy. He rejoiced in the French and American revolutions and his spiritual explorations, and his disgust with injustice and hypocrisy strengthened by his contacts with the radical circle of Paine and Godwin, are reflected in the prose satire The Marriage of Hciwen and Hell (1790—3), the poem coll. Songs of Innocence and Experience (1789—94), and such poems as The Trench Rerohilion and America, a Prophecy (1793). In B.'s religious system, (rod is a vengeful terrible power (Unzen); Jesus the embodiment of humanity (Ore); and the virtues which derive from the human principle in its fullest and highest manifestation are Los, the male, Emtharmon, the female. B.'s works include the long poems Milton (1840—8) and fernsalem. The Emanation of the Giant Albion (1804—20); the verse prophetic books Ihe Llt'erlasting Gospel (c. 1818), the Booh of Thel (1789), The Song of Los and Vala or the Four Zoas (1797-1804).
(1600-1638) Baroque French painter (Paris)
(1614-1689) Baroque French painter
(1797-1840) Romanticism German painter.Despite early artistic inclinations, he trained as a bank clerk and then worked as one from 1814 to 1822 before studying at the Akademie der Künste in Berlin. Here Heinrich Anton Dähling (1773–1850) sharpened his interest in Romantic and poetic subjects, while Peter Ludwig Lutke (1759–1831) encouraged his eye for the potential expressiveness of observed language. Blechen was also strongly influenced by the paintings of Caspar David Friedrich, which he was able to study in Berlin at this time. In 1823 he travelled to Dresden, where he visited Johann Christian Clausen Dahl and probably also met Friedrich, who shared the same house. Here Dahl impressed Blechen with his impulsive style of oil sketching. Studies (Berlin, Alte N.G.) of Meissen, especially of the cathedral, and of the dramatic landscape of the surrounding parts of Saxony reveal the early development of Blechen’s tendency to perceive landscape and architecture, especially ruins, as allegories of his own usually rather depressed moods. This passionately subjective use of imagery distinguishes Blechen from Friedrich, whose work shows a far more level-headed deployment of landscape symbols as religious allegory.
BlEECKER, Dirck Gerritsz (see BLEKER, Dirck Gerritsz)
(1621-1679) Baroque Dutch painter (Amsterdam)
BLEKER, Dirck Gerritsz
(1621-c. 1679) Baroque Dutch painter (Amsterdam)
BLEKER, Gerrit Claesz
(1592-1656) Baroque Dutch painter (Haarlem)
BLES, Herri met de
(1500 -1555) Mannerism Antwerp painter of landscapes and religious pictures whose style was similar to *Patenier's; there was a fantastic element in his work, especially in his mining landscapes, e.g. The (Copper Alines. He was probably related to Patenier and may have been identical with the Herri de Patenir recorded in the Antwerp Guild in 1535; Bles, meaning 'blaze of white hair', was possibly a nickname. In Italy he was known as 'Hennco Civetta', from the owl emblem with which he signed his pictures.
(1940-1994) Arte Povera.
BLEYSWIJCK, Cornelis Adriaensz van
(active 1605-1648) Baroque Dutch goldsmith (Delft)
BLIN, Jean-Baptiste (see BELIN DE FONTENAY, Jean-Baptiste)
(1653-1715) Baroque French painter (Paris)
(1566-1651) Baroque Dutch painter of biblical and historical subjects, portraits and still-lifes. After a period of travel, including Paris (1580—3) and Amsterdam (1591—3), he settled at Utrecht, where he played an important part in founding the Utrecht school. He had a great reputation, being visited by Rubens and Elisabeth, Queen of Bohemia, and was the master of J. G. Cuyp, G. Honthorst and H. Terbrugghen. Through the Dutch 'Italianizers' he was affected by Mannerism and Caravaggio's use of chiaroscuro.
(1601-1672) Baroque Dutch painter (Utrecht)
BLOEMEN, Jan Frans van
(1662-1749) Baroque Flemish painter (Rome)
BLOEMEN, Norbert van
(1670-1746) Baroque Flemish painter
BLOEMEN, Pieter van
(1657-1720) Baroque Flemish painter (Antwerp)
(1650-1707) Baroque Dutch sculptor
BLOMMENDAEL, Reyer van
(1628-1675) Baroque Dutch painter
(1498-1561) Northern Renaissance Flemish painter
(1761-1853) Neoclassicism French painter (Paris)
BLOOT, Pieter de
(1601-1658) Baroque Dutch painter (Rotterdam)
(1906-1992) Russian-born U.S. *Magic Realist painter whose mostly allegorical paintings combine certain Surrealist techniques (fantastic, dream imagery, free association) and social concern, e.g. 'The [Sternal City (1934—7). In his earlier paintings, e.g. Parade (1930), he used a *Precisiomst style close to *Sheeler and *Demuth.
BOBADILLA, Jerónimo de
(1620-1709) Baroque Spanish painter (Seville)
BOBRUN, Charles (see BEAUBRUN, Charles)
(1604-1692) Baroque French painter (Paris)
BOCANEGRA, Pedro Anastasio
(1638-1689) Baroque Spanish painter (Granada)
(c. 1460-1525) Early Renaissance Italian painter (Cremona)
(1504/5-1546) Early Renaissance Italian painter (Cremona)
(1420-1487) Early Renaissance Italian painter (Umbria)
(1882-1916) Italian *Futurist painter, sculptor and writer who studied under *Balla in Rome. Inspired by Marinetti's Futurist Manifesto (1909), B. issued the Manifesto of Futuristic Painters (1910). He contributed to an exhibition of Futurist art in Pans (1912) and summarized its ideals in bis book Pittura, sniltura futurist? (1914). Characteristic works are the painting 'The City Rises (1910) and the sculpture Unique Forms of Continuity in Space (1913).
(1827-1901) Swiss Romantic painter whose early works were sentimentalized, cliche-ridden classical landscapes; his later fantastic pictures of creatures from Germanic legend and classical mythology, e.g. Triton and Nereid (1873/4), were ponderous rather than dramatic. Imaginative landscapes, e.g. Isle of the Dead (1880), following the tradition of C. 1). Friedrich, have a supernatural, if theatrical, atmosphere.
BOECKEL, Pieter van (see BOUCLE, Pierre van)
(1610-1673) Baroque Flemish painter (Paris)
BOECKHORST, Jan van
(1604-1668) Baroque Flemish painter (Antwerp)
(1622-1674) Baroque Flemish painter (Antwerp)
BOELEMA DE STOMME, Maerten
(1611-1664) Baroque Dutch painter (Haarlem)
(active c. 1550) Northern Renaissance Flemish potter (Antwerp)
BOGDANI, Jacob (see BOGDÁNY, Jakab)
(1660-1724) Baroque Hungarian painter (London)
(1660-1724) Baroque Hungarian painter (London)
BOGOMAZOV, Alexander or Oleksandr Bogomazov
(1880-1930) Ukrainian painter, known artist and modern art theoretician of Russian Avant-garde.
(mid-i4th c) Painter working in Prague at the court of the Emperor Charles IV. By him are The Glatz- Madonna and Death of the Virgin, 2 of the finest examples of International Gothic style.
BOILLY, Louis Léopold
(1761-1845) Romanticism French portrait, history and genre painter. His work includes Triumph of Marat (c. 1794) and The Arrival of the Stage-Coach (1803).
(1743-1809) Neoclassicism French sculptor
(1616-1680) Baroque Dutch painter, prior to 1640 a pupil of Rembrandt, to whom many of B.'s paintings were attributed, so well did he imitate his master. In the 1660s his work deteriorated as he pandered to popular taste and painted in a more elegant and decorative manner.
(1534-1593) Mannerism Flemish painter
(1842-1931) Italian painter and printmaker. He received his earliest training from his father, the painter Antonio Boldini (1799-1872). From 1858 he may have attended courses given by Girolamo Domenichini (1813–91) and Giovanni Pagliarini (?1809–78) at the Civico Ateneo di Palazzo dei Diamanti, where he assiduously copied Old Masters. At 18 he was already known in Ferrara as an accomplished portrait painter. In 1862 he went to Florence, where he sporadically attended the Scuola del Nudo at the Accademia di Belle Arti. He frequented the Caffè Michelangiolo, a meeting-place of progressive artists, where he came into contact with the MACCHIAIOLI group of artists.
(1500-1570) High Renaissance Italian painter (Venice)
(1605-1656) Baroque Italian sculptor (Rome)
(1577-1651) Baroque German painter (Bayreuth)
(1600-1675) Baroque Dutch painter (Haarlem)
BOLOGNA Giovanni da(Giambologna, Jean de Boulogne)
(1529-1608) One of the greatest and most influential Mannerist sculptors, born at Douai and settled in Florence. His most important works were undertaken for the Medici family, including Flying Mercury, Rape of the Sahines and fountains in the Boboli gardens; among his other works are the early fountain of Neptune at Bologna and Samson Slaying a Philistine.
BOLOGNA, Vitale da
(1309-1359/61) Italian painter, Bolognese school. The earliest documentary references to Vitale concern S Francesco, Bologna, where he was paid for decorating a chapel in 1330 and where he witnessed deeds in 1334. He was probably born before 1309, since he would have been at least 25 to act as a witness. The earliest works attributed to him are the frescoes of standing saints and Abraham and the Blessed Souls (Bologna, S Martino), which show a strong Riminese influence in the cool, wine-red and olive tones and lean, high-cheeked faces. Vitale’s work continued to reflect Riminese iconography and features, particularly the vivid characterizations associated with Pietro da Rimini, but his style became less dependent upon these sources. He was paid for paintings in a chapel and the guests’ refectory of S Francesco in 1340. The Last Supper from the refectory (detached; Bologna, Pin. N.) retains the cool pinks and rows of standing saints of the S Martino frescoes, but the modelling of the figures is richer and more expressive. The long table and symmetrical architecture are inspired by Giotto’s frescoes in the Bardi Chapel, Santa Croce, Florence, and the radical transformation in Vitale’s style, which set him apart from his Bolognese contemporaries, was partly due to Giotto’s influence. Above all, however, his style was influenced by the Master of the Triumph of Death at Pisa. The lively gestures, the loose modelling and lime-green and vermilion palette of Bolognese illuminators, particularly the Illustratore, also began to influence Vitale. Bolognese illumination provided a repertory of genre observation that undoubtedly affected his wide range of iconographic innovations. These varied influences can be seen in the uneven but lively quality of the Crucifixion (c. 1335–40; Philadelphia, PA, Mus. A.). Vitale’s work is also often compared to that of Sienese painters. There is no substantial evidence of direct influence but his use of dramatic facial types reminiscent of Pietro Lorenzetti and a decorative richness akin to Simone Martini’s painting suggest that he knew their work.
BOLSWERT, Schelte Adamsz.
(1586-1659) Baroque Flemish graphic artist (Antwerp)
BOLTRAFFIO, Giovanni Antonio
(1467-1516) Early Renaissance Italian painter, a pupil of Leonardo da Vinci in Milan. His work includes Virgin and Child and Narcissus.
(1635-1719) Baroque Italian painter (Venice)
(1890-1957) Polish-born British painter and teacher (1945—53), after years of obscurity, at the Borough Polytechnic, London. Bomberg's large geometrical compositions, e.g. The Mud Bath (1914), were prominent in the avant-garde of the early 20th c. Later works were representational, e.g. paintings in Palestine (1923—7); from c. 1929 he began to use Expressionist techniques.
(active 1421-1464) Early Renaissance Italian sculptor
(1355-1443) Early Renaissance Italian sculptor
BONACCORSI, Pietro (see PERINO DEL VAGA)
(1501-1547) High Renaissance Italian painter
BONACOLSI, Pier Jacopo (see ANTICO)
(1460-1528) Early Renaissance Italian sculptor (Mantua)
BONANNO DA PISA
(active late 12th cent.) Medieval Italian sculptor
(1228-1274) Italian painter, Lucchese school. Son of Berlinghiero Berlinghieri. His presence at Lucca from 1232 to 1274 is confirmed by a long series of documents, of which one (1244) records that he undertook the entire decoration (untraced) of the deceased Archdeacon’s room. It was to include bird and other ornamental motifs, according to the wishes of Lombardo, master of works at Lucca Cathedral.
(active 1751-1788) Rococo Italian painter (Naples)
(1654-1736) Baroque Italian sculptor (Padua)
(1755-1834) Romanticism English miniaturist
(1420-1496) Early Renaissance Italian painter (Perugia)
(1487-1557) High Renaissance Italian painter (Venice)
BONINGTON, Richard Parkes
(1802-1828) Romanticism British painter and lithographer of great talent, living and working, however, mainly in Calais. B. was a friend of *Delacroix and *Lawrence. I le was awarded a gold medal at the Paris Salon in 1824 at the same time as Constable. In his work the English tradition of topographical landscape combined with the spirit of French Romanticism. His oil paintings and watercolours of marine subjects painted with a light palette and free handling are regarded as his best work. Though B. died young, he had a considerable influence over contemporary and later landscape painting, mainly in France. He was regarded as one of the first to break with the tradition of *David.
BONVINCINO, Alessandro. Il *Moretto
BONINO DA CAMPIONE
(active 1350-90) Medieval Italian sculptor
BONNASSIEUX, Jean-Marie Bienaimé
(1810-1892) Neoclassicism French sculptor
(1867-1947) French painter, lithographer and designer who studied at the Ecole des Beaux-Arts (1888) and the Academic |ulian (1889). While a student he met *Serusier, *Vallotton, *Vmllard and the other *Nabis who first exhibited together at the Cafe Volpini m 1889. His early graphic work (Ret'iie Blanche cover, 1 89s) combines acute and often humorous observation of a fleeting pose with an instinctive sense of design. I le ill. a number of books for *Vollard including Parallelemeiil (1900) and the outstanding edition of Daphnis et Chloe' (1902). His decorative use of silhouette reflects the widespread influence of Art Noureau and of Japanese prints. He subscribed to the Nabis doctrine of abandoning 3-dimensional modelling in favour of flat colour areas, but was never committed to the Symbolist aspect of the movement.
After 1900 he concentrated more on painting and although he still worked more from his observation than his imagination, his early wit and charm gave way to a Matisse-like monumentahty of design. Mature works like La Baignoire (1925) play off the considerable surface richness of paint and colour against a simple formal strength and bis acute perception of light. After 191 1 he worked either at Vernon or in S. France.
BONO, Michele di Taddeo di Giovanni (see GIAMBONO, Michele)
(1400-1462) Early Renaissance Italian painter (Venice)
(1455-1519) Early Renaissance Italian painter (Verona)
(1931- ) American artist born in Providence, Rhode Island. She studied at the Art Students League, New York, 1952-5 under William Zorach and John Hovannes. Awarded a Fulbright Fellowship to Rome 1957-8. First one-woman exhibition (of bronzes) at Gallery G, New York, 1959. Began in 1959 to make relief constructions out of canvas, wire and welded steel, with mysterious openings often protected by grills or menacing metal jaws, and suggestive of mouths, vaginas etc. Turned in 1967 to making free-standing sculptures in vacuum-formed plastic of fish and flowers. Lives in New York.
(active 1536-1567) Mannerism French sculptor
BONVICINO, Alessandro (see MORETTO da Brescia)
(1498-1554) Mannerism Italian painter (Brescia)
(1552-1622) Mannerism Italian sculptor (Rome)
BONZI, Pietro Paolo
(1576-1636) Baroque Italian painter (Rome)
(1669-1729) Baroque Dutch painter
(1605-1669) Baroque Dutch painter (Amersfoort)
BORCH, Gerard ter (see TERBORCH, Gerard)
(1617-1681) Baroque Dutch painter (Deventer)
BORCHT, Hendrik van der, the Elder
(1583-1651) Baroque Flemish painter (Germany)
(1500-1571) High Renaissance Venetian painter, a pupil of Titian, whose style he followed closely. He worked in France tor King Francis I and later in Augsburg and Milan, painting portrait, religious, allegorical and mythological subjects including Fisherman presenting the Ring of St Mark to the Doge and Saluator Munch.
(1574-1616) Baroque Italian painter (Rome)
BORGOÑA, Juan de
(d. 1554) High Renaissance Spanish painter (Toledo)
(1870-1905) Russian painter. In Paris he worked in G. *Moreau's studio; *Puvis tie Chavannes made a great impression on him. He returned to Russia (1899), working near Saratov painting melancholy scenes of derelict classical mansions peopled by sad, crinolined figures. A lonely figure, both as artist and man, he was influential on the *Blue Rose Group.
BOROVIKOVSKY, Vladimir Lukich
(1757-1825) Rococo Russian painter
BOROVYK, Volodymyr (see BOROVIKOVSKY, Vladimir Lukich)
(1757-1825) Rococo Russian painter
BORRÁS, Fray Nicolás
(1530-1610) Mannerism Spanish painter (Gandía)
(c. 1360-1425) Early Renaissance Catalan painter (Barcelona)
(1599-1677) Baroque Italian architect.
(1770-1849) Neoclassicism Italian painter (Venice)
BORSSUM, Anthonie van
(1630/31-1677) Baroque Dutch painter (Amsterdam)
(1510-1566) Northern Renaissance Flemish graphic artist (Antwerp)
BOSCH, Hieronymus also called van Aeken
(1450-1516) Northern Renaissance Netherlandish painter. Documentary evidence connects him at various periods between 1480 and 1516 with Ins birthplace Hcrtogenbosch (Bois-le-Duc), where he belonged to the Brotherhood of the Holy Virgin; he designed the stained-glass windows and a crucifix for the Chapel of the Brotherhood (151 1-12) and was presumably a highly respected member of the community. He was referred to at his death as the 'famous artist', winch is borne out by a commission in ] 504 for a Ijist Judgment by Philip the Handsome of Burgundy. 13. was a religious painter with a strong bent towards satire, pessimistic comment and great interest in everyday life. This has made his work, a unity 111 form and content, one of the last profound expressions of the medieval world view. Landscape plays an important part in his compositions, it sets the mood and it is seen with directness. Religious iconography is reinterpreted freely in the mood of popular prints, and the unbridled fantasy of the artist explores, not so much the world of the subconscious but every thematic variation, allusion and symbol available to his contemporaries. These were not puzzle pictures in their time, but picture books which could be read and understood. Only when the tradition and the understanding were lost did they increasingly require interpretation of some kind, until in our own time, with the advent of Surrealism, attempts have been made to 'explain' B. by means of dream analysis. He was also referred to as a heretic by later generations. It is impossible to date and arrange his work in chronological sequence as much of his original work is now lost, many copies were made m his lifetime and even his signature forged. The Haywain and The Garden of Delights are triptychs fully authenticated and so is the table panel of the Esconal, which once belonged to Philip II as one of his intimate possessions. Other important paintings by B. are: Christ Mocked, and a portrayal of the Ship of Fools, a common contemporary theme.
(1768-1845) Neoclassicism French sculptor
(1612-1643) Baroque Dutch painter (Utrecht)
BOSSCHAERT, Ambrosius the Elder
(1573-1621) Baroque Flemish flower and still-life painter who spent most of his life in Holland and died at The Hague. B.'s works are exceptional m their subtlety of colour, their detail and finish.
BOSSCHAERT, Ambrosius the Younger
(1609-45) Baroque Dutch painter (Utrecht)
(1667-1746) Baroque Flemish painter (Antwerp)
(1610-1650) Baroque Dutch painter (Utrecht)
(1602-1676) Baroque French graphic artist
BOSSUIT, Francis van
(1635-1692) Baroque Flemish sculptor (Amsterdam)